Kammerkonzert (album)

Squarepusher, real name Tom Jenkinson, is a British electronic musician.^[1] Jenkinson signed to Warp in December 1995 where he would go on to release acclaimed albums such as Hard Normal Daddy and Ultravisitor.^[2][3][4] Jenkinson began to write music for orchestra in 2016 and workshopped material with professional musicians, though he was not satisfied with the outcome.^[5] After the COVID-19 pandemic which prevented large groups of people meeting, and a wrist injury preventing him from playing bass guitar, Jenkinson ended up recording all of Kammerkonzert himself.^[5]

Musically, Kammerkonzert has been described as a chamber,^[6][5] electronic,^[5] IDM,^[7] and jazz album.^[8] In comparison to Jenkinson's past albums, which were much more electronic-based and focused on primarily drill 'n' bass music, Kammerkonzert instead comprises multi-layered orchestral compositions.^[7][8] Tracks on the album often make extensive use of strings, horns, woodwinds, and live drums.^[9] Bill Pearis of BrooklynVegan noted how the album often recalls '70s jazz fusion.^[9] Critics noted various influences could be heard across the album's runtime, such as Ennio Morricone, Frank Zappa, Brian Eno and Magma.^{[9][7][10][5]}

"K2 Central" makes use of a "slow electro-funk drum machine rhythm", bass guitar, live and programmed drums and string arrangements throughout.^[5][8] One critic described the track as "the musical heart of the record" and "a protagonist's theme"; comparisons were made to Music is Rotted One Note as well.^[8] "K4 Fairlands" comprises breakbeat drums and "creeping" strings, eventually making use of synthesiser-based sequences.^[5] One critic noted: "Jenkinson's past bleeds into his present as timpani turn into squelchy beats and French horns give way to an 8-bit wall of sound".^[9] "K7 Museum" is a "berserk seven-minute prog-fusion instrumental".^[11] The track uses harpsichord and mallet percussion, and "crescendos with such compositional acuity that it borders on showstopping", according to one critic.^[5][7] "K10 Terminus", described as "head-spinning" and "irresistibly perky", combines orchestral composition similar to Mozart with drum 'n' bass percussion.^[5][7] "K13 Vigilant" is "gleeful and mind-bending", making use of sequenced glockenspiels in place of hi-hats.^[5][7]

Kammerkonzert was announced for release on 25 February 2026.^[12] "K2 Central" was released as the first single, with an accompanying music video produced by Jo Apps.^[13] A second single, "K7 Museum", was released on 18 March 2026; it was also accompanied by a music video.^[11] Kammerkonzert was released on vinyl and CD on 10 April through Warp.^[14] Bundles of the album with an exclusive print were also made available.^[14]

More information Aggregate scores, Source ...

Professional ratings

Aggregate scores
Source	Rating
Metacritic	82/100[15]
Review scores
Source	Rating
AllMusic	[5]
Slant Magazine	[7]

Close

Kammerkonzert was received positively by critics. At Metacritic, which aggregates scores from mainstream critics, Kammerkonzert has an average score of 82 based on 6 reviews, indicating a score of "universal acclaim".^[15]

In a review for AllMusic, Paul Simpson said the album would likely end up being one of Jenkinson's most divisive releases due to its musical style, though noted it was "still a fascinating release and a remarkable achievement".^[5] Bill Pearis of BrooklynVegan summarised how "circuits are swapped for chamber strings but Kammerkonzert still sounds like Squarepusher".^[9] Michael Cragg, in an article for The Guardian, called Kammerkonzert a "typically invigorating affair".^[16] Writing for The Quietus, Finn Cliff Hodges mentioned the album's "traditionalist roots" and how it "used orchestral music as its base camp", also stating how "as the music builds [Jenkinson] washes his wonderful, abstract pigments all over those traditionalist forms".^[8] Paul Attard of Slant Magazine concluded: "it's nothing Squarepusher hasn't done before, but it's rendered with the polish and executed with the ease of an artist who knows exactly how to make it land."^[7] An article for Tinnitist written by Darryl Sterdan said "Kammerkonzert displays Jenkinson's strength not only as a producer but as a composer, shown by the album's mercurial juxtapositions".^[10]

Credits are adapted from the liner notes.^[17]

• Tom Jenkinson – performance, production
• Jason Mitchell – mastering
• Jo Apps – photography
• Sean Kuhnke – design