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Squarepusher - Damogen Furies mp3 download
Squarepusher - Damogen Furies mp3 download
Performer: Squarepusher
Title: Damogen Furies
Country: Japan
Released: 2015
Style: Drum n Bass, IDM, Leftfield
Rating: 4.1/5
FLAC size: 1219 mb | MP3 size: 1631 mb | WMA size: 1554 mb
Genre: Electronic

Damogen Furies is less subtle and funky than Ufabulum, but it’s more focused. Here, Jenkinson commits to one primary thematic idea per song, and develops and interrupts it within the bounds of a clear larger structure. Tracks like opener "Stor Eiglass" and "Exjag Nives" introduce pleasant, portamento synth melodies that develop cleverly, spaced out with breakbeat and boiled wah-bass interludes. Moments like these get at what is most interesting about Squarepusher’s work. Even on an album as wholly electronic-sounding as Damogen Furies, Jenkinson's musicality remains organic and responsive.

ambient dub, and even humanly impossible compositional scores played by robots. Damogen Furies finds Jenkinson turning away from his more nuanced or minimally funky material and offering up an album of completely blown-out tones. Nearly everything on the album's eight songs sounds coated in distortion and chaos, though still distinctively Squarepusher at the core. Garbled beats and fuzzy synth tones take the form of highly compositional MIDI-prog on the dizzying "Kontenjaz" and a melodramatic electro-throwback horror movie score on "Baltang Ar.

Damogen Furies ‎(CDr, Album, Copy Prot. This album is amazing. I had become a bit jaded with respect to Squarepusher having seen him live in the past and feeling that his range of sounds and styles had just become familiar to me. Despite my conscious awareness of the quality of his work I found myself not seeking it out. When I saw his performance at Day for Night in 2016 I was shocked.

producer's new album finds a sweet spot right there. Hear upcoming albums in their entirety.

Damogen Furies is the fourteenth studio album by British electronic musician Squarepusher. It was announced on 18 February 2015 and released on 20 April 2015. Along with the announcement of the album, the third track, "Rayc Fire 2", was released for free on Squarepusher's site, on which a series of live dates in support of the album were also announced

Album · 2015 · 8 Songs. Damogen Furies Squarepusher.


A1 D Frozent Aac
A2 Kwang Bass
B1 Baltang Arg
B2 Exjag Nives
C1 Kontenjaz
C2 Rayc Fire 2
D1 Baltang Ort
D2 Stor Eiglass

Companies, etc.

  • Phonographic Copyright (p) – Warp Records Limited
  • Copyright (c) – Warp Records Limited
  • Recorded At – Square One
  • Mastered At – Alchemy Mastering
  • Pressed By – Optimal Media GmbH – BF80653


  • Design [Design And Image Manipulation By] – Build
  • Mastered By – Matt*
  • Photography By – Timothy Saccenti
  • Written-By, Producer – Tom Jenkinson


℗ 2015 Warp Records Limited
© 2015 Warp Records Limited

Made in EU

Recorded at Square One using The System 4.0

This album was made using a bespoke system which has been in development for over a decade. Fragments of earlier versions of the system have been used on other recordings, but this project is the first occasion where all sounds have been generated and processed exclusively on instruments that I have programmed myself. The initial impetus to develope it came from a need to free myself from the constraints of using off-the-shelf gear and the culture of consumerism that engulfs electronic music making in particular. And I came to see that experimenting with the functionality of instruments helps to cultivate an experimental attitude to composing with them. Indeed, for me the process of designing instruments has become indissociable from composition. All of the recordings on this album were made in a single take with no edits, reflecting the system's orientation towards live performance. It is presented in defiance of the path of least resistance.

Printed cardboard inner sleeves.

Barcode and Other Identifiers

  • Barcode: 0 801061 02641 7
  • Barcode (Scanned): 801061026417
  • Matrix / Runout (Side A): WARPLP264 A1 = MATT @ ALCHEMY = BF80653-01 A1
  • Matrix / Runout (Side B): WARPLP264 B1 BF80653-01 B1
  • Matrix / Runout (Side C): WARPLP264 C1 = MATT @ ALCHEMY = BF80653-02 C1
  • Matrix / Runout (Side D): WARPLP264 D1 BF80653-02 D1
  • Label Code: LC02070

Other versions

Category Artist Title (Format) Label Category Country Year
BRC-461 Squarepusher Damogen Furies ‎(CD, Album, Ltd) Beat Records, Warp Records BRC-461 Japan 2015
none Squarepusher Damogen Furies ‎(CDr, Album, Copy Prot., Promo) Warp Records none Europe 2015
WARPCD264 Squarepusher Damogen Furies ‎(CD, Album) Warp Records WARPCD264 Europe 2015
WARPCDD264 Squarepusher Damogen Furies ‎(8xFile, WAV, Album, 24b) Warp Records WARPCDD264 Europe 2015

Comments (32)
My copy is good, not much surface noise that i noticed. The music sounds excellent, and i dig the reverse tracklisting on this compared to the digital release
I hope that Robert Smith and Simon Gallup got paid.
"Exjag Nives" has some AFX samples, I can hear "Phlange Phace" as the main breakbeat
This album is amazing. I had become a bit jaded with respect to Squarepusher having seen him live in the past and feeling that his range of sounds and styles had just become familiar to me. Despite my conscious awareness of the quality of his work I found myself not seeking it out. When I saw his performance at Day for Night in 2016 I was shocked. All of the live, practical instrumentation was gone. This was an entirely electronic and exceedingly spontaneous performance driven as much by the gear as it was his ability to move between setups and manage it. I was blown away. I came straight home and picked this up to realize what I had been missing. This is a pivotal and important step in a new direction that I could not be more excited about. This shit is hot like fucking lightning.
the whole album sounds like final boss music from Japanese RPG video games. 10/10
It completely blows my mind to see so many fans trashing this album. Damogen Furies is amazing, from start to finish. Some really amazingly dark tunes mixed in with some very creative sounds/tracks. Whatever you're doing Tom, please keep it up. The more experimental you get, the better.
Tom seems to get more than his fair share of "fans" who cry fowl on every single new release. Tom is constantly pushing himself and his gear which is why we first fell in love with him on Weird Things...wasn't it?
The best albums still take you on an emotional journey... suspense, pretty, dreamy, eerie, whatever. Mosty people like music that can be described in emotional terms. Tom's got a lot of good songs to his name, but a lot of them will be forgotten in time as sound pastiche, hurried, player music, not listener music, I had the tape of feed me weard thigns before it went to cd and vynil from an industry mole. Yeah i recall it. today = overuse of grain delay, lack of silence, hurried, farty, grain cloud is 90 percent of his pads, tonal pads are less than 12 percent, harmonic sequences that made him famous are rare, he has lost the plot a bit in terms of rewarding his audience with a balance of the things that gave him fame, which is chords, emotional music, spaced out music... His music studio sounds like a detuned casio with snort and fart-nose blow sounds, zero ambient tracks, zero jazzy... He is an awesome musician but his album covers and synthesizer/arpeggiator/chordal design prowess SOUND like THEY are pathetic and he should go back to playing notes more often. tell duncan i think it's farty. If that's his 10 years of worth on studio design with millions to blow in the persuit of studio and synth designers. His studio description is rediculous and he clearly has developed a lack of interest in pleasing most of his listeners with even a couple of musical humorous and modest tracks. most of all his grain cloud work is pompous and vainglorious.
This album surely is a bit difficult to listen to for hardcore Squarepusher fans. (And I feel very sad about this because I feel the same sometimes.) It feels like it was produced with audiophiles in mind. Some songs are truly nice, others feel like a demonstration of Squarepushers skills. I don't think this makes the album bad though. I enjoyed it a lot several times (and will enjoy it even more in the future) because this album is filled with detail and the love for it. The word I've read many times is "brutal" and indeed, this is, in my opinion, the most brutal album Squarepusher has ever released. I'd enjoy to listen to something less brutal in the future though. As the album Ufabulum, Damogen Furies has something very "clean" about it and is definitely pleasing to the ears.
exactly! throughout the chaos there is this red thread which keeps it all together. I still prefer the less noisy style but love the diversity squarepusher provides.
There are the wonderful abstract elements on "Do You Know Squarepusher", namely "F-Train", "Kill Robok", "Conc 2 Symmetriac" as well as "Direct to Mental" taken from "Alive in Japan", which amplifies this even further, which again is reflected on "50 Cycles" on "Ultravisitor", as well as "Steinbolt" on that album, which may be seen as harsh, although I would argue not necessarily in a cruel way.
I have PASSIONATELY loved about 80-85% of Squarepusher releases. This album is such a disappointment. There are two tracks that I enjoy, the rest are "meh", but one track just irritates me. I'm shocked right now. I didn't even spoil it, I waited until my vinyl arrived to hear the tracks for the first time (aside from one track titled Stor Eiglass which made me buy the album). I can't believe that people are giving this 5 stars. Sorry Pusher fans. Preview this album before you purchase it. If someone wants to trade anything for it, give me a shout. Only listened to it twice.
I love this album so much. Easily one of my favourite Squarepusher albums of all.The vinyl tracklisting is the way to go. If you have the CD or a Digital format, I highly suggest reordering them to match the vinyl.
Best Squarepusher album from the last ten years. Not what I expected, but still good tracks.
Here we see Tom doing a sort of return to form from the dark, eerie dubstep of Ufabulum while still retaining that grimy feel. Lots of lovely 303 squelch combined with drum weirdness & a lilting melancholy. If you enjoy TJ's glitchier sound, this album is for you.It seems that gone are the days of the jazz & bass. It's too bad; TJ seemed to be able to meld jazz & insanity like noone else. It's a great LP, just not a great Squarepusher LP.Highlights are "Baltang (Ort/Arg)", "Kwang Bass"(super glitchy & brutal acid insanity), and "Kontenjaz".
This LP takes the darker side from Ufabulum (tracks 6-9), adds a few nods to the most convoluted sounding tracks of the past including “Menelec”, “Kill Robok”, “The Modern Bass Guitar”, then really pushes the extreme of those sort of sounds across an entire LP. Extremely satisfying for people craving the more brutal and glitchy side of Squarepusher, of which he has been fairly modest with in the past. Until now.
Well this one has no fillers/weird moments like "stadium ice" or "red in blue" - and is therefore more coherent than Ufabulum - BUT it has that The Cure cover which is a very bad choice for an opener - which IMO could be the amazing "Exjag Nives" - and THIS sad fact won't make me buy this album, sorry. yeah, I just can't get over it. "youu-hoo...lost and lonely....."....FU*K
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Stor Eiglass is actually the final track on the LP version, but the tracks are just in reverse order so Exjag Nives is only 1 track earlier.
Return to (a much harder) form.Heavily percussive album. Not much soul. But I like it just the same.Some hard ravish, almost gabbery vibe with (very) little funkiness thrown in. Shades of (older) Venetian Snares and older Squarepusher.The first track, "Stor Eiglass", is a favorite. Maybe because parts of it sounds (dangerously) like "Just Like Heaven" from The Cure. Not sure if that is a coincidence or a nod. It is the most melodic track of the bunch.Don't play this when your 2 year old is trying to take a nap. :)
This album is pretty cool, you just have to appreciate his current sound and not get stick to the old stuff.
The lofty statement attached to this lp release, cements the moment where Squarepusher crawled up his own anus, locked the door and disappeared for ever. Really awful sounds on this lp, it's all technique and no heart. What a wanker.
Maybe he whittles his own bass guitar from a tree he chops down from his own private forest. Perhaps he forged his own steel in his own custom steel forge and hand wound his own bass strings. Who would buy those common off the shelf consumer goods. Commoners. So lofty and pompous, bereft of joy and emotion. The record itself is full of awful stadium synths, does nothing for me I'm afraid.
Cry me a river.
Yeah. The inner sleeve touting the "one take" thing put me off. So what?However, I disagree. I do dig the album. I just don't care how he made it.
You got that mixed up. Squarepusher is a musician who does what he wants. The wanker would be the one who gets all anal and posts asinine comments about something he doesn't understand.
And once again poor Tom gets shredded to pieces by his fans. Though i doubt this'll be anyone's favorite SP album, it's still got a few gems. Kwang Bass for example which is my favorite of the bunch. Basically, it features a lovely 303 squelch and Toms trademark IDM/drum and bass style and then subtly evolves into this noisy mess in pure Squarepusher fashion. I would give this three or four stars but since people are rating it on the same level as Scary Monsters And Nice Sprites (which is idiotic) i'll give it five just to even things out.
Throw her heart
As a long-time Squarepusher fan, I really can't get behind this new sound of his. I'm all for evolution, but it sounds like he's' stuck on the same few sounds and glitching them out into infinity.Gone is all semblance of jazz/funk that was pervasive in his earlier work. Hey, go ahead and evolve, but man, this new sound is pretty gimmicky. A demonstration of technique, the complete lack of soul here.
I actually really like this album, for me it is his best full-length since Hello Everything. I can totally understand if fans of his older work do not like it though, stylistically it is very different in every possible way. And I'm glad Tom keeps evolving and experimenting, rather than churning out rehashes of his 90s stuff
Totally agree.
Yes, it's true. He stuck in the beginning of 2010-s. For example, when I heard "D Frozent arc" for the first time, I was absolutely sure, that it's from "Ufabulum" album and that I has already heard this.It's bad example of self-copying/
generation of new
I agree with your general sentiment; this is way off from his best work. It's maybe a little incredible, but not my thing. I'm turned off by it for different reasons. I actually quite like noise, if you will, but this work is too polished and processed in the wrong sort of way. It begins to sound a lot like Skrillex, or whatever.