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Several standout tracks here--bloodstone, esthers, the killer's vanilla, big-furry head, at the end of the day. On the contrary to what one reviewer wrote, the album is just as "musical" as any of his releases. Indeed, if I was making a best of for him, I would take quite a few tracks from this record. found sound or not, this one still holds its own compared to earlier releases, and that is a very high standard to live up to. It has a different feel and lots of new sounds and maybe has more variation than a couple of his other albums.
Enjoy. I am addicted already. This is such an interesting album. I listen to it to try to catch all the little details Tobin has put in his music.
I think some listeners might be a little caught up in the project concept, or are just unable to deal with a slightly different sound. It would be easy for Amon to pump out the same sound every CD. At times it is raucous and hard (big furry head), at times it is beautiful and soft (at the end of the day), at times it is dark and haunting (bloodstone), and at times it makes you wonder how in the world the sounds are being generated.
It is a shame for them, cause they are missing out. but that wouldn't be very entertaining. Try to appreciate an artist taking risks and keeping his sound fresh, rather than lamenting that each recording doesn't sound the same.
I have all the Amon Tobin releases, and I have to say that this one is my favorite. probably the same ones that don't like Amon's jazzier tunes as well. This is a great 5 star CD.
it is a great trip. Maybe others just don't like any of the softer stuff.
It's still above average9.Always-Excellent beat. Like the bursts of light and darkness.The album I got came with a DVD that highlights some of the making, and I think the cd is enhanced. It's going to bloom sometime, and I can't wait to see what he does with that in the future. He might even move away from electronic altogether. While this is the only Tobin album that's I see in most stores, don't start with this one. But if you look at how much he evolved during his work prior to the found sounds (around Chaos Theory), it's very exciting. But his use of wings and motorcycles on this one is thrilling. However, he is fairly new at this kind of stuff.
The Foley Room is his first attempt at the realm of found sounds, and that's his only basis (His other one: Chaos Theory, really doesn't fall into the same way of sampling like this one). Best use of his sounds. Surf's up.in hades.3.Keep Your Distance-Killer track, creepy with an infectious beat.4.The Killer's Vanilla-Interesting track, but nothing to special. The beat is pretty dark, but it's not much of a thrill.8.Big Furry Head-Meh.9.Ever Falling-I like the falling vibe to it. He might even make a good hip hop album (the next Paul's Boutique. Be awesome, but If anything, this might get points because it's cool to watch an evolution, and just to ponder "how did he get THAT sound.". It's intriguing for what this guy does, but I feel that he has a bit of a way to go before he can make a found sound recording and it be as intriguing as his first four albums. What do I mean.
Not as good as Nova or Natureland, though. 6.Horsefish-Another killer track. Gets a lot better in the second part.5.Kitchen Sink-This song is killer. The best one on here.7.Foley Room-Mediocre. While it's a step down, naturally (see above), it's still a cool listen.1.Bloodstone-The beginning with the Kronos Quartet is eerie, and reminds me of a vampire's lair, or a church, or something really cool.
Still, not killer.11.At The End of The Day-Good closer. Get his earlier albums first.7.5/10 Texture isn't as good, but who cares.10.Straight Psyche-Lot's of cool twists in this one. I mean that this album isn't as engaging or as good as his other stuff. Focused, interesting, moody.
Awesome, but I think Tobin would have been better if he eased on the beats in the second half.2.Esther's-Sometimes a cool listen, sometimes not. Who knows what this guy will do in the future now that he has embraced a microphone and can record anything and do anything with that sample. Well, for some, because for me it's a waste of time.
The elaborately cut up bits and pieces of familiar every day sounds form into an organized chaos of dissonant elastic melodies powdered with bouncy rhythms and dropped into a chamber, which the sound effect designers call "the foley room". For his sixth release, Tobin abandoned his perfected technique of sampling from dug up vinyl, and built an ambitious collage of field and studio recordings with the help of The Kronos Quartet, Stefan Schneider (To Rococo Rot) and harpist Sarah Pagé. If Ninja Tune was entirely in its own music genre (and I'd like to claim that it is), then it would be hard for its roster to compete with its staple artist, Brazilian born Amon Adonai Santos de Aravjo Tobin, who for over a decade has graced our ears with abstract downtempo trip hop and experimental jazzy breaks. Such is the case with Foley Room, an organic and at times dark album, that swirls and loops through filtered sweeps and broken beats.
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