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on 10 June 2007
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!
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on 4 December 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.
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on 17 May 2014
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!
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on 10 April 2010
Truly amazing. Amon Tobin pushes the boundaries of sound design and electronic music once again. If you only buy one Amon Tobin album, make sure it is Foley room. Lush harmonies, amazing rhythms and all from samples created and manipulated by Amon Tobin. This is a classic
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on 16 June 2007
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!
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on 20 April 2007
I'm a big fan of Tobin's, but this album does nothing for me. I spent most of the time thinking 'nice sounds, but when does the music start?'

A definite try before you buy for fans of his previous works.

*Edit* Perhaps I was a bit harsh. It has grown on me somewhat, but still only 3 stars.
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