6 of 6 people found the following review helpful
5.0 out of 5 stars
Foley Room, 4 Dec. 2008
Most people know Tobin for his brilliant talent at creating the most vivid and deep tapestries of ambience with only the aid of existing samples 'supermodified' beyond recognition: but this album is a huge step forward for Tobin, and a massive leap for the sounds that have been created.
Every motorbike, machine, satellite dish and tiger has been painstakingly recorded over a three year period, allowing Amon to fulfill even the wildest and eccentric audio fantasies. The track that best demonstrates this is the pulsing 'Kitchen Sink', recorded entirely from nothing but the appropriate kitchen utensil, creating a breathing mass of sounds and melodies that will make you look at your wash-basin in a completely different way.
This is what seems to be the occurring theme throughout the album: organically living samples, enduring their everyday lives on their own, but together molding into a palate of sound that has never been created before. The inclusion of improvising musicians furthers this: with guest appearances from the renowned 'Kronos Quartet' and several other instrumentalists.
It's not all just experimental object abuse: Tobin still includes some heavy break-beat tracks, one of the best being the title track: an explosive exploration of what can be achieved with a drum kit. A 'Foley Room' is a completely 'dead' room: no ambience, no echoes, no reverb, no life (the complete opposite to the frantic snare-driven train). This allows a sample to be recorded exactly as it should sound with no interference from outside variables like the environment, and provides pure audio: ripe for mutilating in any shape conceivable.
But the highlight of the album is the closing track, 'At the End of the Day': sun kissed strings blend with a haunting synth melody to create a fitting curtain call to an extraordinary project.