Amon Tobin (BR)
Somewhere back in the mid-90's a fresh faced Brazilian ex-pat living in the UK decided he was going to put down his harmonica, pick up a sampler, and name himself after a Stephen King novel. The resulting album, Cujo's 'Adventures In Foam' (released on Ninebar records, later reissued on Ninja Tune) signaled Amon Tobin's entry into the world of music. Well actually there's a pre-Cujo project also, but everybody knows not to talk about it... but if you get Amon really drunk... actually no, even then he won't play it for you.
Immediately upon hearing this record, the powers that be at Ninja Tune signed him up to record as Amon Tobin, and he quickly went to work on his debut 'Bricolage'. If you'll recall, these were the 'trip-hop' years for electronic music, where any clown with a sampler and a collection of Blue Note records could knock off some half-baked boutique hotel background music. But 'Bricolage' shone above all that. Although employing a marriage of jazz and beats, it stretched it further by bringing in elements of bossa-nova, batucada, and jungle, and combining it with a sense of song-writing that elevated it above the standards of that aforementioned scene.
Although employing a marriage of jazz and beats, it stretched it further by bringing in elements of bossa-nova, batucada, and jungle, and combining it with a sense of song-writing that elevated it above the standards of that aforementioned scene. I mean hell, it has a song on it which was inspired by Amon taking a piss on his neighbors bike after some domestic living dispute ('A Day In My Garden')...this was clearly no good vibes jazzy beats guy Ninja had signed.
Next up came 'Permutation'. Although stylistically a logical follow up to 'Bricolage', it was also on this album where things starting taking a noticeable turn to a much darker output. In fact you can actually trace Amon's career based on coffee shop & dinner party accessibility...and let's just say that this record signaled the end of anyone being able to use Amon records as background music.
This one cut a wide path; from the film tributes of 'Like Regular Chickens' and 'People Like Frank', to the monster breaks on 'Sordid' (easily his biggest 'hit' in the catalog), to the caravan-esque shuffle of 'Nightlife', and ending with the ultra-lush 'Nova' (which later was used for Bebel Gilberto's 'Samba Da Bencao on her debut album).
Immediately upon hearing this record, the powers that be at Ninja Tune signed him up to record as Amon Tobin, and he quickly went to work on his debut 'Bricolage'. If you'll recall, these were the 'trip-hop' years for electronic music, where any clown with a sampler and a collection of Blue Note records could knock off some half-baked boutique hotel background music. But 'Bricolage' shone above all that. Although employing a marriage of jazz and beats, it stretched it further by bringing in elements of bossa-nova, batucada, and jungle, and combining it with a sense of song-writing that elevated it above the standards of that aforementioned scene.
Although employing a marriage of jazz and beats, it stretched it further by bringing in elements of bossa-nova, batucada, and jungle, and combining it with a sense of song-writing that elevated it above the standards of that aforementioned scene. I mean hell, it has a song on it which was inspired by Amon taking a piss on his neighbors bike after some domestic living dispute ('A Day In My Garden')...this was clearly no good vibes jazzy beats guy Ninja had signed.
Next up came 'Permutation'. Although stylistically a logical follow up to 'Bricolage', it was also on this album where things starting taking a noticeable turn to a much darker output. In fact you can actually trace Amon's career based on coffee shop & dinner party accessibility...and let's just say that this record signaled the end of anyone being able to use Amon records as background music.
This one cut a wide path; from the film tributes of 'Like Regular Chickens' and 'People Like Frank', to the monster breaks on 'Sordid' (easily his biggest 'hit' in the catalog), to the caravan-esque shuffle of 'Nightlife', and ending with the ultra-lush 'Nova' (which later was used for Bebel Gilberto's 'Samba Da Bencao on her debut album).