On Amon Tobin:
Amon Tobin well impersonated the classical composer in the hip-hop age. Instead of composing symphonies for orchestras, Tobin glued together sonic snippets using electronic and digital equipment. Adventures in Foam (1996)… and especially his aesthetic manifesto and masterpiece, Bricolage (1997), unified classical, jazz, rock and dance music in a genre and style that was universal. Tobin warped the distinctive timbres of instruments to produce new kinds of instruments, and then wove them into an organic flow of sound. Tobin kept refining his art of producing amazingly sophisticated and seamless puzzles on Permutation (1998), Supermodified (2000) and, best of his second phase, Out From Out Where (2002). Once he had exhausted the possibilities of instruments and samples, Tobin turned to found sounds and field recordings as the sources for The Foley Room (2007), without basically changing style…
Tobin’s studies on timbre should also not be overlooked. The apparently unassuming “Defocus” is actually a new kind of symphony. Tobin warps the distinctive tone of an instrument to produce a new kind of instrument, and then weaves a few of them (a bee-like violin, a distorted bass, UFO-sounding flutes) into an organic flow of sound. It is, in fact, one of the most significant innovations since Beethoven added a choir to a symphony.
Needless to say, jazz fuels and dresses these compositions. However, Tobin does to jazz what Picasso did to impressionism: it uses only discrete fragments of the image to reconstruct the whole. Furthermore, it is never the only or main element. For example, the sax solo of “Wires And Snakes” coexists with industrial metronomic pulses and with soothing ambient waves of electronics.