Squarepusher – Feed Me Weird Things (Remastered)

"I made my first records using the Boss DR660," says Tom, in this article.

In this June 2021 interview for The Wire, Tom Jenkinson, aka Squarepusher, details the gear he used on Feed Me Weird Things:

One evening in 1994 a pal brought over a newly purchased Alesis SR-16 drum machine. I combined a bar of SR-16 percussion with a Roland SH-101 synth’s bass drum-ish sound and processed the result through an Ibanez CP-9 guitar compressor pedal to make the main breakbeat on “Dimotane CO”. I sampled it on my recently acquired Akai S950 (this was the first piece I made using it) and MIDI-sequenced the break using the SR-16. The drums give way throughout to a Roland TB-303 set against a wall of noise which is actually the SR-16 drum break running through a Frontline guitar distortion pedal. “UFO’s over Leytonstone” uses the same break but pitched down to less than half the tempo.

In a June 2021 The Wire feature on the gear behind Squarepusher’s debut, Tom Jenkinson identifies the Peavey Express 112 by name and says he used it on “The Swifty” for its built-in spring reverb:

“Peavey Express 112 guitar amp”

“I used this on ‘The Swifty’ for its built-in spring reverb...”

In this June, 2021 interview with The Wire, Tom Jenkinson, aka Squarepusher, details the gear used on Feed Me Weird Things:

Tokai fretless Jazz Bass

Regarding the bass playing on “The Swifty”, I was trying to escape a little from assertive transients and lack of timbral variety, influenced by the textures jazz saxophonists and other wind players got from their instruments. To assist that, I accentuated the mid-range and rolled off some of the low frequencies on the Tokai bass, audible here with a worn fingerboard. It was recorded direct to DAT as I didn't have a multitrack recorder at this time, which meant I had to play the bass part from start to finish in a single take along to the live MIDI playback.

The sound at the beginning of “Windscale 2” is an effect I achieved by rapidly tapping the strings with a plectrum and then processing the result with varying amounts of reverb. Related to this is the cello-like sound, audible initially at 2:29 and heard more or less in isolation at 6:26. This was made by rubbing one of the strings with a 50 pence coin in an attempt to approximate bowing characteristics but with a more abrasive and metallic timbre.

In this June 2021 interview for The Wire, Tom Jenkinson details one of the ways he used the Ibanez CP-9:

One evening in 1994 a pal brought over a newly purchased Alesis SR-16 drum machine. I combined a bar of SR-16 percussion with a Roland SH-101 synth’s bass drum-ish sound and processed the result through an Ibanez CP-9 guitar compressor pedal to make the main breakbeat on “Dimotane CO”. I sampled it on my recently acquired Akai S950 (this was the first piece I made using it) and MIDI-sequenced the break using the SR-16. The drums give way throughout to a Roland TB-303 set against a wall of noise which is actually the SR-16 drum break running through a Frontline guitar distortion pedal. “UFO’s over Leytonstone” uses the same break but pitched down to less than half the tempo.