The connections we have with our favourite artists and albums often mirror our real life relationships. Time and time again, we like to be able to return to the ones that provide a constant source of inspiration, to be drawn to those that offer warmth, or to have a fling with a certain track and move on as soon as the attraction fades. Given that musicians' directions seem to change just as much as people do, there is also an uncanny set of similarities with the break-up process. For instance, after buying an artist's releases back to back only to find that there's just no spark there anymore, it's natural to find ourselves reluctantly brooding over what seems like an inevitable parting of ways.
When Amon Tobin composed the soundtrack to the computer game Chaos Theory: Splinter Cell 3 in 2005, he brought a three-year recording hiatus to an end with a distinctive departure from his normal style. Take a quick glance at Tobin's discography and it's easy to see an inherent step-by-step evolution, but Splinter Cell seemed to bypass a substantial chunk of that development and instead leapt full-long into a head-turning experiment in sound. Sure, there were still recognisable elements and it did indeed test your stereo's capabilities, but it also tested your patience, plummeting into a nosedive of listenability and running out of ideas soon after the opening track. It was a change that left many listeners lost and confused, clinging to the hope that this was "just a phase."
Although the idea of original sampling has always been a signature component of Tobin's catalogue, at the heart of it lay that characteristically murky, almost sinister flow where Batucada meets free jazz and flirts with drum 'n' bass. But Splinter Cell changed all that, and changed it utterly. Not only is Foley Room in keeping with its predecessor (uncomfortably so, one might argue, given the deluge of déjà vu moments), but it also spells out that there's likely to be no way back to Tobin's former glories.
Article comments
1 - david myler
It's hard to believe you heard the same album I have. It's the exact opposite of what I hear in every single way!!!! This is by far the AT album to date and virtually everyone I've come across on every blog and forum who acquired *cough* leaked copies tends to agree.
I must admit I was not a big fan of splinter cell either but that was a sound track obviously designed to follow the action in a video game. To compare it to any other of Tobins albums is misleading and quite unfair. this is the real follow up to Out From Out Where and is his most controlled and musically rich output since Supermodified. Easily! Is it possible the other half in this relationship has simply outgrown you? ; )
2 - Alastair Green
I have to agree this review is so off the mark it's kind of crazy. We are all entitled to our oppinion but there is a point where the description itself is so far off that it doesn't make any sence.
I've been listening to Tobins output for many years with mixed reactions and was sceptical of "Foley Room" but on the first listen I was blown away. In a nutshell this is nothing short of a masterwork.
Granted anyone looking to revisit the days of "batucada jazz flirting with drum n' bass" will be dissapointed. but there is no shortage of immitators still providing just that. With FR Tobin does what he does best which is to leave the competition in the dust scratching their heards thinking (as this reviewer did) "what is this?"
3 - jk
i agree with u Cian. that album is more like a soundtrack. It's obvious that Amon has run of ideas since Supermodified. I hope he quits or collaborate with a composer who is able to flesh his sample mangling skills with fresh ideas.
4 - js
seems kida bitchy. sorry but true. pitchforks says it's his best album and I agree so there!
5 - Dosh
I think this review has it spot on. Listening to Tobin's new albums has become an increasingly frustrating process and now it's finally time to give up, for me anyway. I won't be holding out for a return to form either.
And by the way, Pitchfork said it was his best in 7 years - in other words, since Supermodified...which isn't saying much, and exactly what this article underlined. Well written.
6 - mandy
what a load of old rubbish. funny how this review came out two months before release like the reviewer couldnt wait to be the first to poo poo it. even funnier how since it did come out every review I read says this albums amazing, which it is.
7 - mandy
"in other words his best in 7 seven years...which isnt saying much"
LOL!!!
8 - Jonez
I'd have to compeletely agree with this article, and I'm glad there's someone out there who sees it the way I do. I handed over good money for this..."art". It's mostly just pretentious sound fiddling and, as this piece suggests, sorely lacks a context.
Thanks
9 - Tournay
I think this review highlights a divide between listeners: people who have paid for the CD and are disappointed because they expected more from Amon Tobin, and those who have downloaded the album, feel its a fairly good artistic statement...albeit one they might not have on any regular rotation.
A friend recently argued that those who download and are free to delete if they're not taken with something are in less of a position to appraise a work than the traditional "music lover" who is left out of pocket with a dud CD sitting in their rack.
That's probably a little extreme, but I can see where he's coming from.
As for this review, I can't really fault it. There's nothing worse than commiting yourself to a buy from an artist that was once great and being let down, and I think you've captured that feeling accurately. Nice read, too.
10 - hm
Well Foley Room was the first album by Amon Tobin that I ever heard (took me a while I know) and I love it, so it's not like I even had any previous expectations. Tracks like Kitchen Sink are pushing it a bit, but hey it's an experiment so not everything is going to work. The rest of it is great. It works very well. Oh, and I downloaded it first, and then bought it. And I've since got a few of his other albums too.
11 - jon
nice interesting mixed views... and a likkle bitchy to....
bought foley room today on lp.
been an amon tobin fan since the cujo days and i really DO believe that he has gained maturity with every release. as did the albums.
i think foley room is pretty amazing. i was a bit sceptical for the first listen but played it about 4 more times and it really IS good.
wont harp on. jsut saw this site today and thought i sould give you my 2 pence worth.
if anyone is reading this paragraph to see if its worth buying. it is. not easy listening and challenging but very rewarding one you get it..
rather like beefhearts - trout m ask replica eh!!
12 - Simoon
I'm not sure it's totally warranted to compare its with the likes of Supermodified, sure the comparisons will be there but that was seven-odd years ago.
If you go into this album expecting it to be Supermodified then you will be disappointed. I expect the reason for so much variation in review is because of an age group difference now.
Fans of Supermodified when it came out liked Tobin for that style, and that sums Tobin up for them. Now new fans are picking up on Tobin's new style - unfortunately I think a lot of Tobin's old fan base will suffer because of this. I get the feeling this reviewer has been a fan for a long time, and Tobin has outgrown his tolerance!
Time (and Tobin) has moved on, people!
13 - big furry head
interesting to see that some people who are fans didn't like this album... i personally love this and do listen to this regularly. first got into Tobin when i heard Bricolage and hooked ever since. i totally disagree with the author but seems like he's not the only one that thinks this way so, whatever, i think this album is mindblowing in so many ways. i'm excited i'll be seeing him in 2 weeks in surround sound!!
14 - guyrie
this album is simply beautiful! it has so many rich dynamic textures that it gives me an ear orgasm.
15 - Jeff B.
This is the best album of his to date to do some critical listening with on an audiophile grade system. There are so many nuances that make up each song. To take everyday noise, and arrange it in such a way to create a mood is not easy. Old fans with a narrow style range may not like it (I was there at the start too), but to deny the skill involved is stupid. I am glad to see he is exploring outside the box.
16 - Jeff B.
This is the best album of his to date to do some critical listening with on an audiophile grade system. There are so many nuances that make up each song. To take everyday noise, and arrange it in such a way to create a mood is not easy. Old fans with a narrow style range may not like it (I was there at the start too), but to deny the skill involved is stupid. I am glad to see he is exploring outside the box.