Amon Tobin
Foley Room

"Foley Room" is the latest, "Foley Room" is not the best, "Foley Room" is the darkest...

Amon Tobin, the Brazilian who journeyed through Drum and Bass, Jazz symphonies, the most industrial Trip Hop, and orchestral Jungle lands on an ironic and cinematic album with a dark and misty sound that recalls the atmosphere of "Blade Runner".

Five years after the last album, if we exclude various collaborations including the soundtrack for the game "Splinter Cell: Chaos Theory," Amon's sound reveals itself to be even more intricate. Samples and field recordings blend with harps, wurlitzer organs, guitars and synths, minimal and complex melodies alternate, creating tension and isolation from everything "outside".

Amon Tobin is not content with sampling the sounds of reality; the urban environment is subdued, twisted, swallowed, and then expelled. Engines, droplets of water, noises from kitchen utensils, and factory equipment are rendered fluid and mixed with musical instruments, percussions are encrusted in an assembly line, musical notes serve the machinery, which comes to life, a schizophrenic and sinister heartbeat where nothing is out of place, heterogeneous elements perfectly fused.

And finally, in this chaos, it is possible to appreciate the music, which expands and contracts; among creaks and percussions, notes emerge, Tobin's piano or the orchestra of the Kronos Quartet, between a breakbeat and a jazz solo, the overdrive organs of "The Killer's Vanilla" are majestic.

The "Foley room" is the room where sound floats, flies, and falls, between heaven and hell, directions that wonderfully diverge. "Foley room" is the place where organic and inorganic materials coexist, the music evoking evil presences that in turn reveal a kind yet nevertheless captivating soul.

...."Foley Room" is stainless steel dripping from the window down the street...