Steve Jenkins is part of the new wave of modern electric bass players. In addition to his mind-blowing technical prowess, his musicianship has allowed him to fit into a diverse range of musical situations that have run the gamut from face melting prog-metal to experimental microtonal jazz-funk to dubbed-out electronica bass lines to classic sounding r&b grooves--sometimes all within the framework of one song. He also has a strong grasp of using effects and technology which makes him a true sonic force to be reckoned with. “Steve Jenkins And The Coaxial Flutter” is a potent instrumental collision course which is equal parts progressive rock and elements of jazz fusion combined with strong undercurrents of metal and electronic music. It is instrumental music for people that hate instrumental music. It was recorded in the later part of 2011 at world-class producer Jamie Siegel’s (Lauryn Hill, Taking Back Sunday, Smashing Pumpkins) JRock Studios located in Manhattan. Also appearing on “Steve Jenkins And The Coaxial Flutter" are Vernon Reid, John Shannon, and Chris Buono contributing their forward-thinking guitar playing and Gene Lake and Adam Deitch adding their next-level drumming to the music. “Steve Jenkins And The Coaxial Flutter” also finds Jenkins not only in the role of bandleader/bass player/composer but also as a multi-instrumentalist--playing guitars, synths, programming, sound design, and intricate, realistic drum programming (as heard on the blistering prog/math/metal track “Sphere.”) In addition to that, there are a plethora of different sounds and tones he gets from his basses including the lead sounds on the solos as heard on “Leave This CIty Before You Can’t” and “Parallax” which some might mistake for lead guitar but are in fact bass guitar running through various effects. With “Steve Jenkins And The Coaxial Flutter,” Steve Jenkins has tapped into the very thing that made him want to become a musician in the first place. It is the combination of taking musical risks and his diversity as a musician that makes it possible to go from Weather Report-influenced grooves to Radiohead-esque sonic tapestries all the way to the syncopation-from-hell frantic Meshuggah-influenced riffing.