Amon tobin biography channel

In May of , Amon Tobin and Ninja Tune released the Amon Tobin Boxset: a strictly limited edition release and that came in the form of a beautiful high quality bolt fastened mechanical 'press' and included 6 x 10" vinyls, 7 CDs, 2 DVD's and several posters. Most of the material is unreleased, almost none of it has ever been available on a physical format before.

It includes new music, unreleased dub plates and a wealth of archive material, Amon Tobin's earliest audio experiments never been played in public before , film and television score work, unreleased score work, deleted bootlegs, ISAM live show DVD, ISAM live audio album, remixes, cover versions and re-interpretations of the ISAM album, remixes Amon has produced for others, a recording of the November Royal Albert Hall orchestrations of Amon Tobin and more.

The Two Fingers project is in parallel with Amon's more esoteric musical excursions. A furious vent between exploring the outer reaches of sound. Initially presented as a Record Store Day exclusive, this EP is a collection of stunning new music; momentous and elemental, and epic in scope.

Amon tobin biography channel

From Amon's own voice gender-modified to the sound a of a creaking chair mutated into a string ensemble, ISAM directs an academic approach in audio manipulation to a purely emotional musical context. This contrast is central to the album and represents a pivotal moment in Amon's personal musical development. Sound design techniques previously used in film, as pioneered by the likes of Ben Burt Star Wars, Wall-E were utilized along side new ones Amon developed specifically for ISAM and applied in an unprecedented approach to music production.

The specific nature of the album demanded new thinking in terms of how to present it live and this in turn lead to an entirely new kind of music performance. ISAM Live is a hybrid of interactive cinema and a concert experience in which sound determines a narrative. Much like the album, the live show adapted existing and emerging technologies to new contexts.

Projection mapping, which had up to then been largely the domain of static mostly corporate visual showcases, was configured for the first time to narrate the musical performance of an entire album. He instead used turntables which he felt had more in common with his approach to music production. He is known for building Dolby Digital 7.

In , Tobin developed a live show in support of the album ISAM , fitting his criteria for a performance that is both live and purely electronic. He told Wired Magazine "The idea was to integrate myself, quite literally, into an audio and visual presentation of the album,". The show has been met with international acclaim described by Vice Magazine 's Creators Project as "revolutionizing the live music experience".

His live performance in Melbourne , Australia was used for the fourth album in Ninja Tune's Solid Steel series because Tobin was not available to record a studio mix at the time. According to Tobin's official website, "After months of back and forth and despite everyone's best efforts the mix was in danger of being edited into the ground to accommodate big labels and publishers.

Rather than release a compromised version commercially, the decision was made to give it away for free instead. Tobin's music also appeared in several major motion pictures including The Italian Job, Tideline Littoral and He has also produced tracks for a number of independent films, including The Last Minute , and has created production music for the BMG Zomba commercial library which is used in various films.

He also produced the score for the documentary Pax Americana and the Weaponization of Space. Once he had exhausted the possibilities of instruments and samples, Tobin turned to found sounds and field recordings as the sources for The Foley Room , without basically changing style. In effect, Tobin carried out several philosophical debates at once e.

Tobin was indirectly debating on the meaning of music itself, on the nature of composition, on the viability of communication, on the ultimate constituents of sound. His neglect of form was a new kind of form, a form that had reduced form to the annihilation of form. The dualism of content versus form was resolved by the post-modernists as a non-issue: Tobin redefined it as a process, a process of form-abatement by which content is created, as if content and form were the same substance, and more of one meant less of the other one.

Not surprisingly, this logic took him to ISAM , which was basically an elegant noise collage. Full bio. Amon Tobin, born in Brazil but active in London, is a classical composer of the hip-hop age. Instead of composing symphonies for orchestras, Tobin glues together sonic snippets using electronic equipment. Toby debuted the moniker Cujo on the album Adventures in Foam Ninjatune, Hip-hop is the main influence in Northstar and Sighting, but the rhythmic element staccato beats and jazzy basslines is always reined in to let the superimposed and extremely artificial sounds flow naturally.

Tracks such as the fibrillating Cat People and the suave A Vida filter hip-hop so as to leave only a swampy carpet of beats, apparently for the only purpose of transforming the continuum of melodic music into a discrete pulsating grid. Languid piano notes and Brazilian polyrhythms washed away any debris of hip-hop from The Brazilianaire, the sweetest moment of the album.

Ornette Coleman's bass-driven funk is another influence, and, while few tracks sound like funk, that praxis is often encountered in Cujo's songs. Whichever the method, shimmering secretions such as Traffic the album's second standout , the torrential percussion and piano feast The Sequel, Break Charmer and Fat Ass Joint build a bridge between jazz and drum'n'bass.

Even the least eventful creations, such as The Light and Paris Straitham excel at weaving eerie atmospheres possibly transposing the art of Duan Eddy and the Ventures to the era of drum'n'bass. The singles Creatures, Mission, Chomp Samba marked further progress in his compositional technique, and led to the monumental Bricolage Ninjatune, , credited to Amon Tobin.

The album title is a manifesto of sample-based collage-oriented abstract hip-hop composition, along the lines of DJ Shadow 's work. A loud bass line opens Stoney Street, mimicking a rhythm and blues theme. The surface of the song is a dialogue between a jazz trumpet and decadent violins, and it keeps merely looping, one voice alternating to the other, each voice merely repeating its tune.

The backdrop for the song is hyper-busy drumming. A new structure arises in which the "leitmotiv" is assigned to the bass, while the other instruments simply embellish the atmosphere, although it is the other instruments that are actually laid out in the front. Easy Muffin is hypnotic and dreamy, as different weeds alternate at uttering simple melodic patterns, but never reaching the consistency of a refrain, while the drum machines erect a bush of impenetrable beats.

Creatures is another highlight, a cloud of ghostly free-form noises segueing a geometric shower of piano notes over machine-gun beats, while a grotesque and languid trumpet lingers by. The hawaian guitar of Yasawas, the cool-jazz trumpet of The New York Editor, the romantic sax line of The Nasty, are all counterposed and juxtaposed to disorienting textures, and revitalized by a process of musical introspection.

Each track becomes a study in counterpoint, a chamber piece for a small number of instruments that trade nuance. In Chomp Samba it is the frantic, tribal rhythm itself to be subjected to such a treatment, and the result is a futuristic ode to primal insticts. Tobin's studies on timbre should also not be overlooked. The apparently unassuming Deficus is actually a new kind of symphony.

Tobin warps the distinctive tone of an instrument to produce a new kind of instrument, and then weaves a few of them a bee-like violin, a distorted bass, UFO-sounding flutes into an organic flow of sound. It is, in fact, one of the most significant innovations since Beethoven added a choir to a symphony. Dream Sequence exploits that techique to lay all sorts of bridges between genres, as the tones mimick country and raga, while its essence is kosmische musik.

Needless to say, jazz fuels and dresses these compositions.