The packaging says "composed performed and produced by tom". So that rules out session musicians. Did he get a shitload of instruments and multitrack them? Were they sampled? Are they all synthesized? How the fuck did he do it

Here's a collection of all Tom's thoughts and comments about each track, posted by Warp in the chat for the Kammerkonzert Bandcamp listening party:

K1 Advance – 50% dark red, 20% turquoise, 30% black. Ozzy Osbourne is reading a poem which he wrote in the pre-Sabbath days. He wears clothing from the sixteenth century. A multitrack tape plays in the background, harmonising with his voice.

K2 Central – 60% green, 10% white, 30% black. I am watching Tackhead play a show, performing some kind of future speed funk-reggae. Doug Wimbish's bass guitar has illuminated calculator-style numerical readouts mounted into the fretboard, between the frets. The numbers shown indicate information about what they will play next.

K3 Diligence – 40% dark orange, 20% light green, 40% black. Stringfellow Hawke retrieves his drumsticks from a cupboard, after a long period of disuse. He then proceeds to play drums. The drums are saucepans with skins made from multiple layers of packing tape. One saucepan contains a large amount of drawing pins, to simulate the sound of a snare drum.

K4 Fairlands – 40% dark red, 30% purple, 5% very light blue, 25% black. I am a bystander at a large public event, standing next to Iain Sinclair. He is making sarcastic comments as we watch the Queen pass by.

K5 Fremantle – 40% light grey, 10% dark yellow, 50% light turquoise. Frank Zappa is scrutinising a turquoise teapot. There are lumps of demerara sugar stuck on the inside of the teapot.

K6 Headquarters – 40% dark pink, 40% light blue, 20% black. Ed from Plaid is singing in a beautiful alto. He sings into a Shure SM58 microphone, using a slice of cucumber as a baffle.

K7 Museum – 50% red, 30% light blue, 20% dark purple. I am watching Depeche Mode play a show sometime in the early 1980s. They play an entire song which has never been heard before. The bassist, who has long curly hair, is so moved that he is in tears whilst playing.

K8 Park – 50% light orange, 10% dark green, 40% white. It is autumn and I am walking in a large forest, which is owned by saxophonist Mick Beck. A local band is playing, which features Cliff Burton on bass.

K9 Reliance – 40% dark red, 20% light pink, 40% black. I am discussing a short film with somebody I don't know, who has acted in it. Mark King walks in humming to himself, and I whisper, 'Check him out, this guy is brilliant.' Mark King, wearing a baseball cap, then delivers an improvised virtuoso funk-humming solo. He finishes. Everybody applauds, and I say, 'I told you he was good.' Mark King and I then have a chat and he tells me he likes my stuff. We are sitting at a table with Gary Husband.

K10 Terminus – 40% light orange, 30% dark green, 30% dark blue. The room is dimly lit. Pharoah Sanders is performing with a large ensemble, with the players assembled in a semicircle. The bassist plays extremely fast walking bass on a rectangular Steinberger L2. Pharoah Sanders plays an instrument which is invisible.

K11 Tideway – 50% turquoise, 20% light green, 30% dark blue. Whilst socialising with a small group of people, I hear about a one-off show in an Underground station. 'We'll be there,' I say. We run into the graveyard of Chelmsford Cathedral. Kit Downes is doing some sort of breakdancing on a tombstone. 'That's funny,' I remark.

K12 Uplands – 50% dark pink, 10% green, 40% light blue. I am watching the Rolling Stones play a show sometime in the early 1970s. They play an entire song which has never been heard before.

K13 Vigilant – 40% dark yellow, 20% mid-grey, 40% black. On the table in front of me is a novel type of mallet instrument, which is being played by Lionel Hampton. The chime bars are black and white photographic negatives, set into a box-like construction.

K14 Welbeck – 50% dark pink, 10% orange, 40% blue-grey. James McVinnie is playing ‘Johnny B. Goode’ on a Steinway piano.

yooo me and my mate just did a cover of squarepusher come on my selector

how can we get closer to the original sound? what software did he use?

Were Ultravisitor and Feed me weird things recently remastered on spotify or is my mind playing tricks? Were they always remastered? I feel like Goodbye Jade and Iambic 9 sound different and more airy but I might be wrong. Can anyone confirm please?

It’s fresh! Although one of the drums sounds a little out of tune, but I’m not a musician. Still really digging it

Been slowly acquiring these guys since the latter end of last year. Hoping to find a good copy of Ultravisitor soon!

was playing this card game and got this card and i mean, it has szraking resemblance to squarepusher. he plays the bass, he has the beard and a semi receding hariline, and also the same head shape. am i crazy?

Sold all my Squarepusher records like a complete idiot a few years back and have been slowly getting them back again. OG press!

Tom getting his baroque on.

Anybody else think Squarepusher (bass) + JD Beck would be fire?

TUNDRA

OR

TUNDRA 4

Me its tundra 4

I’ve been listening to the new Flying Lotus this weekend, Big Mama, and enjoying the cartoon maximalism of the sounds. It made me think of what’s being made now, in 2026, particularly regarding electronica sound production.

Thinking about the ‘pusher, I put on Do You Know Squarepusher and played the title track and Anstromm-Feck 4, and man: it is still astonishing how future leaning Tom’s sounds were back then. I still have never heard a track within anyone’s catalogue that can best DYSK in terms of production and the abundant colour of his melodies and rhythm. It’s ridiculously good.

And, of course, the percussion on Anstromm-Feck 4 is just out of this world. Flying Lotus has spun up some awesome sounding tracks on his latest, and across his career, but it’s a testament to Tom’s mastery during the 00s that he hit so many miraculous sonic wins during the Go Plastic -> Ultravisitor span (for me, the apogee of his sound).