Just A Souvenir

He further hones his flamboyant jazz chops while elevating his melodic and rocking abilties to new heights. [Jan 2008, p.131]

Just a Souvenir reveals itself to be a solid record, up there with the best of Squarepusher's work--as any good performer knows, you always leave the audience wanting more.

Despite Jenkinson playing every instrument, including his customised six-string bass, it does sound like a group effort.

As the languid classical guitar that dots the album brings it to a close, it hits that this 44-minute opus is perhaps more inviting, and more melodic, than anything Jenkinson has done in a long time.

In the end Just A Souvenir isn't quite as consistent as it could be, but it offers a nice new direction that will likely have a bit more staying power.

A few breakneck thrash-jazz tracks, occasionally bearing a resemblance to TNT-era Torotise, make way for a distinctly downbeat end to the record. It’s a shame, because Just a Souvenir really could have done without the insipidness of 'Duotone Moonbeam' or the languid 'Quadrature.'

So even though it all adds up to Jenkinson’s most human album in years, its most heartening aspect is that it’s still launched from his usual paradigm.

Just A Souvenir contains more music than you might expect from two separate albums, and it's a thrilling if occasionally saturating listen.

Like any jam band, Squarepusher begins to outstay his welcome after the noisy bass and drum kit duke- out of “Planet Gear.” Thankfully, the idyllic guitars of 'The Glass Road’s' and 'Yes Sequitir’s' idyllic guitars and the retro-futuristic computer voice of 'The Coathangars’s' retro-futuristic computer voice keep these heavenly interstellar jams from sounding too analogous. [Year End 2008]

There's still too much here which feels (and sounds) like filler, but when Jenkinson pulls it off it's as incomparably awesome as ever.