I guess it always was going to happen. Amon Tobin's past releases basically took record sampling as far as it could go. With Foley Room he and a team took to the streets with high-sensitivity microphones to capture source sound to use as the main components to process into the 12 tracks here. They include actual instruments like strings, drums, piano but also lion roars, motorcycle engines, agitated wasps and on and on.

His last album proper (I am maybe wrongly hesitant to call the soundtrack he did for Splinter Cell a true album) 'Out From Out Where' sounded just as the title suggested, from outer space and very sci-fci. 'Foley Room' sounds much more organic, surely in large part to his molding sounds from actual instruments and our environment. But believe me, you would have a hard time placing all the sounds on this album to their actual source as he (as in past releases) molds these samples into sound that rarely has any similarity to that of the original.

'Bloodstone' opens slowly building on a subtle piano trill and strings courtesy the Kronos Quartet. It segues into 'Esther's' with the same piano theme before a monster of bass beats and manipulated motorcycle engine revs bludgeon the listener. Esther's become's Bloodstone's mean older brother on steroids and speed and the album really takes off. 'Keep Your Distance' is as disturbing as any of Tobin's past spook-fests. Play this on the headphones and you will catch yourself checking over your shoulder. 'The Killer's Vanilla'-another great track with a superb outro. 'Foley Room' includes the requisite scatter-breaks that are Tobin's signature. 'Big Furry Head' is titled as a reference to a lion, whose roars are sampled and manipulated to such extent they would probably send the actual animal backpeddaling in fear. As with all of Tobin's records, the final tracks bring the listener down from the chaos that preceded.

Thoroughly recommended.

27人のお客様がこれが役に立ったと考えています

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Mindpower

Fascinating, absorbing, eerie, majestic.

2007年6月10日に英国でレビュー済み

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The great thing about this album is that most existing fans will love it, yet it offers new directions and angles compared with previous Amon Tobin material. The delicacy and sparsity of some of the samples and instruments reminds me a little of DJ Krush, whilst the incredible percussion and programming is there in all its usual stunning style and imagination. I put this CD on in my car and it sounded like I had a new sound system, the production is so amazing. Whilst I understand the other reviewers' thoughts on the more experimental tracks, after just a few spins I like everything on the CD. It somehow makes you feel like you're living life in a movie, with the music listening to you as much as the other way round: eerie. Tobin's tunes don't just evoke scenes, eras and atmospheres, they actually make you feel as if you've experienced these scenes for real, as if in a previous life. The first two tracks really blew me away on first listen, even though I had high expectations; completely fascinating music. I've also got a DVD with it which I look forward to checking out.. Amen, Amon!

12人のお客様がこれが役に立ったと考えています

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busb

Found sound from Amon Tobin aided by the Kronos Quartet & others

2014年5月17日に英国でレビュー済み

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I suppose the easiest way to describe Amon's music on this album is that he uses "found sound". By that, I mean he records a lot of incidental everyday or industrial process "noise" (in Montreal) then creates music from it. The tittle here reflects that - a foley room is were sound effects are added to films. You will hear string instruments from the Kronos Quartet so a bit of a cross-over recording!
The standout track for me is "The Killer's Vanilla". "Kitchen Sink" unsurprisingly give a strong sense of manipulated "watery" sound effects but melds a lot of percussive sound as well as fast stereo panning. Horsefish" (great title) includes harp sounds that evokes a strong sense of mystery & can imagine it accompanying scenes from films which strengthens the whole cinematic theme of The Foley Room. Even the cover art reflects the origins.
The recording quality is good, given the constraints of field recording - no hint of nasty amplitude compression artefacts here! Expect your bass cones to get some moderate exercise when playing this!

1人のお客様がこれが役に立ったと考えています

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Donal Cribb

HIGH DESERT

2012年4月21日にアメリカ合衆国でレビュー済み

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I met this music while traversing Joshua Tree National Park by car, a Mustang convertible, to be exact, top down, on a sunny day with a curving, vacant road ahead. Skies were brilliant blue and white contrails etched by jets drew lines through heaven. The sun was golden and warm, but a nip of night's chill lingered in shadows, and in the air, fresh from brushing past dustings of snow still trapped in rugged crags and hiding in quiet corners of red mountains. Patches of snow waited under shrubs and bases of cacti as if white shadows. I wanted music the second I turned on a warm current from the heater. After some Wagner, and Philip Glass, Amon Tobin's Foley Room took over! The desert suddenly went from sheer grandeur and prescribed order and focused into full three-dimensional representations of natural jazz! The visual presentation, random and irregular, proud and supernatural, made a curvilinear drive behind a gurgling V-8, with Foley Room playing through multiple speakers, a universal experience! It was a day to remember! I play the CD often, especially in the wee hours and when waiting for sleep to come get me,

4人のお客様がこれが役に立ったと考えています

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The Foley Room + DVD

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