No Filler Music Podcast - Ep 20: Amon Tobin - Bricolage

Episode Date: September 9, 2018

We explore the jazz, hip-hop, and jungle-infused sounds on Amon Tobin's debut album, Bricolage. With this album, unlike most trip hop albums from the nineties, Tobin perfectly blends old jazz samples with a drum and bass backbone, and an IDM sensibility. Dark, moody, and effortlessly cool, this record stands out as a true gem in the field of trip hop. For more info, check out our show notes: https://www.nofillerpodcast.com/episode/album-review-amon-tobin-bricolage Learn more about your ad choices. Visit megaphone.fm/adchoices

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Order Uber Eats now. For alcohol, you must be legal drinking age. Please enjoy responsibly. Product availability varies by region. See app for details. And you're listening to No Filler. The music podcast dedicated to sharing the often overlooked hidden gyms that fill the space between the singles on our favorite records. My name is Travis.

With me, as always, is my brother Quentin. Q? What's going on, brother? Oh, just fighting this cold. Just came out of nowhere yesterday, and I'm a little hopped up on the NyQuil, my friend. So apologies if I'm a little loopy, or if my voice sounds like, yes.

Hey, man. Loopy equals entertaining. I guess so. I'm the opposite of Loopy, dude, because, as you know, we have a very sick cat on our hands over here. Yeah, and you know what? Some of our listeners might know who you're talking about

because she's popped up in a few of our episodes. That's right. She actually jumped right into my lap and meowed right into the microphone on like episode one. Yeah, dude. So there you go. I'm sorry, man. Yeah, you know.

She's like 14, 15, so it's about that time. Yeah. But you can, if you hear, if you listen closely, you might be able to hear my other cat meowing right now. So there you go. We have a backup. Dude, don't let Kara hear you say that.

Oh, she's fine. Don't worry about it. So, last week, we covered, I guess our last main episode, we talked about animal collective,

right? Indeed. Which is kind of experimental. They just kind of, you know, they experiment with sounds mostly, right? The way that they mix and sample in sounds. So it's kind of a good transition, I would say,

to someone like Eamon Tobin, who we are talking about today, who is a Brazilian drum and bass down tempo. I guess I wouldn't really call them down tempo, though. Drum and bass, trip hop, electronic artist. I'd say emphasis on the drum, dude. It's one of my favorite things about Aben Tobin is his drum beats are just fucking sick, man. Yeah, and as you heard from our intro song there, which is called Bitter and Twisted, very heavy on the drum and bass stuff. So the album we're talking about came out in 1997.

It's called Brieco Lodge. And it is his first album under the name Aeman Tobin, which is his birth name, a shortened version. of his birth name. But before that, he was known as Kujo, and he came out with an EP under Kujo called Adventures in Foam. Also a really, really kick-ass record. Yeah, yeah, exactly. And that came out in 1996.

But I'm going to stop right there before we go too far into him. And let's do our What You Heard's for the week. So Q, what you heard lately? I thought this would be a good what you heard for Amin Tobin. It's a guy, his name is Will Holland. He goes by Quantic. And I feel like this, so this artist and this song in particular, might be truly the first, quote, down tempo song.

that I first fell in love with. It kind of got me interested in the genre. Did you listen to this guy before you had discovered Tosca? I was going to say, probably around the same time. But I remember listening to this song, it must have been through Pandora. And it was back when I lived in your apartment, brother, and when I was crashing on your floor. Yeah, we listened to a lot of Dundipo together.

Yes. And we even tried making a couple of, it down to both tracks, if you remember. Very true. I wish we still had that, but we don't. Yeah. Yeah, so this is a DJ and producer. Again, he goes by Quantic.

And his very first full-length album is called The Fifth Exotic. Came out in 2001. And the song I'm going to share with y'all is called Time is the Enemy. Yeah, that's a... To me, it's a classic just because, like, I don't know. I probably heard that for the first time, like, I don't know, a decade ago?

Is that, is that, is that accurate, dude? Was it a decade ago? It had to have been. Yeah, yeah, dude. So, true story. I put this album on, in the car on, like, the second date with my wife. And she was so impressed with it, you know, that she was like, wow, this guy really listens to cool music.

Yeah, we actually connected on Bonobo, because I listed Bonobo in my dating profile, and like she had had that on her dating profile. So there you go, Q. Oh, and you guys met through online dating. That's so cute. Well, you and your wife, you guys were, what, drawn blood together or something like that from a dog?

We need more context than that, dude. We weren't just drawing blood on a dog randomly in the streets. We're not vampires, okay? That was the joke I was trying to make. Yeah, I know, dude. Yes, we met in VAT Tech school. There you go. But hey, dude, I would have resorted to the online dating.

Resorted? I like how you say resorted. I would have stooped to that level if I waited long. No, everyone meets online now. I get it. Yeah, yeah, right. I was just, you know, ahead of the curb. You know?

Sure. So anyway, my, what you heard for the week is along the same vein. And, man, this one's a doozy, dude. So get ready. This guy... What's that? What's a dozy dude? Man, dude.

You are hopped up on goofballs. So something that I usually do before we record a podcast is listen to I mean, you do the same thing. We listen to the same, whatever genre the artist is. I try to, like, dig into that genre and kind of listen to it, you know, and just kind of immerse myself in it for a week, you know. And I stumbled upon a article that was talking about the 50, this was a by Fact Magazine.

They were talking about the 50 best trip hop albums of all time. and they put they put um breakalage as number 23 which is the album we're talking about today uh but they also had so so accompanying this article they had a Spotify playlist

that had a song from each of these artists so you know perfect I just hit shuffle I worked the other day and it was just kind of listening to some trip pop stuff and this got this song came up on it uh so DJ Cam

he is a French DJ rooted in hip-hop which is kind of where trip-hop obviously stems from hip-hop right and he kind of combines very much like Tobin he combines a lot of jazz and dub and ambient samples

under his music so anyway fact magazine list this album it's called Abstract Manifesto as number nine. So pretty high on their list. And as they say,

he's capable of weaving together abstract blunted beats with finesse. And no competition remains one of his best competitions to date and a staple of sets from the era. Dude, you just said no competition is his best competition to date. That's what you said, bro. Well, I meant to say composition. Okay? I know.

So we're going to listen to that track right now. Again, this is called No Competition by a DJ Cam. One of his best compositions. Yeah, that's right. If he was in a competition, he would win for best composition with this track. No Competition. Okay. Came out in 1996 on an album called Abstract Manifesto.

Here we go. This is going to be a lengthy clip, but it's worth it. Here we go. Yeah, so. 96? 96. So that's like, that's got trip hop just all over it, right? Yeah.

So I think a lot of trip hop would sort of sample in hip hop records, right? So you heard a little bit of that in the beginning of that clip. But I think the thing in Q, I know you'll agree with me. What draws me to down tempo, we probably talked about this on the Tosca episode is, and the same with trip hop is the jazz samples. Yeah. That's what does it for me. It just, it takes, you know, it takes the stuff from jazz that I like

and puts a killer beat behind it. Yeah. And it rearranges it in a really unique way. But yeah, like you said, all the things that we love about jazz is what these are. artists pull from it. Yes. Because there's, dude, I mean, there's some jazz out there that I can't even listen to, man. Oh, yeah, sure.

Yeah, so, you know, a lot of times they sample in, you know, older jazz records. Yeah. And that's what I appreciate about it. And that's what I love about it. And I think that's a perfect segue. That song itself is a great segue into Aven Tobin. Hell yeah. Very, very similar sounds.

So let's go back a little bit here because I was talking about Adventures in Phone. Was that legitimately one LP? Because that's a long-ass record, man. Well, yeah, okay. So basically he had a series of compositions that he released on 12-inch final. And then he took a bunch of those tracks and put him into Adventures in Foam. So it's kind of a compilation album. But anyway, so that was a limited release.

It came out in 96, the same year that that DJ Cam record came out. And it only had 5,000 copies. So around that time, Ninja Tune, which was, you know, this growing label in the UK. Some of the early artists that they had on that record were those like DJ Food, Funky Porcini, the herbalizer, cold cut. Do any of those names to sound familiar to you Q? Funky Porcini, yeah. So yeah, Funky Porcini is another great one, and he's on this list.

DJ, I'm pretty sure all of those guys are on this list from, yeah, DJ Foods on here, Funky Porcini, herbalizer. Yeah, so all these guys, even Cold Cut. These are all, you know, the heavy hitters in Tripop. So anyway, DJ Food and Funcini, Monkey Porcini noticed, stumbled upon Adventures in Foam, and basically prompted Ninja Tune to reach out to Tobin. Nice. So these guys, these heavy hitters were super impressed by Tobin's music.

They were like, hey, we got to get this guy on the label. In late 96, they signed him to Ninja Tune under the name Aymn Tobin. So basically, he comes out with Adventures in Fombe in 96. Heavy hitters listen to him, and then he gets signed on a Ninja Tune. And the next year he comes out with Bricolage, which is what we're talking about today. So Bricolage, I think, was the first album of his that I listened to. And unlike maybe some of the other stuff in that genre of Trip Hop, there's something different about Aymn Tobin's, the way he approaches.

mixing these these songs together. I don't know what it is about him, but I feel like every song that he has put out has such a mood and, like, atmosphere to it, you know? One thing I noticed, dude, he only ever samples upright basses. His bass lines are always upright bass. Really?

Yeah. And that, that, you know, lends to a certain mood just in itself with that, with that sound. I guess that's probably for his first three records. That's probably true. Yeah. Okay.

Yeah. I don't know about his later stuff. Yeah. By the time you get to Foley Room, which is in 2007, literally every sound on that record is a manipulated field recording. Okay. Including the bass, right? Okay.

But I think he kind of, like his classic albums, the albums that put him on the map are bricolage, permutation and super modified. I love permutation too. That was one I was leaning towards covering on this podcast. Dude, what I like about permutation, the first song you hear on that record,

like regular chickens, has a sample from Eraserhead. That movie? Oh, man. Yeah. And he actually is a big fan of... David Lynch. Yeah. So anyway,

some of you, if you've ever played a game called Splinter Cell and you played Chaos Theory, which was the third Splinter Cell game, came out in 2005, then you have heard Aymn Tobin's music. You may not have realized it, but Aiman Tobin, he came up with the music for that video game. And it was kind of a groundbreaking thing at the time for a, you know, nowadays, you know, video game scores are just as good, if not better than movie scores a lot of times. But prior to that time, you know, yeah, you had stuff like, you know, a lot of people always talk about the final fantasy scores as being really, you know, amazing and incredible. And then, you know, there's like the Halo 2 soundtrack that came out earlier than that.

But it's all very cinematic and like orchestrated and stuff, right? You know, like more what you think of when you think of like a thematic movie score. but with Tobin's work on Splinter Cell it's it's just it's Tobin doing Tobin but it's like a score you know it's more it's down tempo in a video game like how cool is that you know

yeah and what's interesting about the way he approached it you know when you're playing a video game and you're you know there are certain like things that happen in each level during a during the span of a level right like you might be especially with Spillner Cell there's moments where you're sneaking around right and then there's moments where you know like one of the enemies has been alerted and you're kind of running and trying to to find cover right so for each

song uh Tobin breaks it into four distinct but similar parts based on the level of intensity so how cool is that right that's the record that i found at that record store in houston dude you dropped a lot i dropped a lot i dropped a couple of that one i dropped a few bucks for that. But it's something I've been looking for for a long time. So anyway, all of that aside, let's get back to Bricolage because that is what we're talking about today. So, let's just go right into the first track.

Bricolage, again, this came out in 1997. And the first song I'm going to play for you, interestingly enough, you can't find it on iTunes. It's not on Spotify. It's been taken off of all the streaming networks. My hunch is because it was recently used in a Lincoln car commercial. So if you remember those commercials that featured Matthew

McConaughey in it, he's driving at Lincoln, well, you might recognize this song. Anyway, this is one of my favorite tracks of Tobin's. It's called Easy Muffin. So Q, what is the imagery that comes up in your head when you hear this song? So for most Aymn Tobin songs. It just puts me in like the city at night. Yep. With and this is like maybe after some rainfall so the street's all wet so you know the street lights are reflecting off the ground you know maybe some smoke coming up from the sewer. Dude just a classic cityscape yep at night. That's a

same in Tobin's music for me. This might be the one time where I have 100% agreed with you on the imagery that comes up. But I think Yeah, I just, you know, that's just what, that's the feeling and like the mood and the atmosphere. Like, uh, this music makes you think of. Like, uh, film noir. Yes. Right, exactly. And we've talked about that.

I think we talked about that on the, on the Tosca episode. I think for some reason, down tempo just pulls up imagery like that. So, Q, what do you think pitchfork rated this album? Uh, I'm going to say, um, seven or higher. 10 out of 10. Wow. The only reason I bring it up is because the guy who reviewed it, when he listened to it while he was driving at night in Chicago.

Wow. Okay. So basically, he's talking about the first track and how I kind of threw him off guard. And he goes, that's when the unmistakably jazz rhythm set came in with a knife to our throats. The string bass pounded at the volume of tin, the saxophone smoothly, keeping the cool and the of Chicago dead ahead. So there you go. Nice.

So something about cityscapes and driving around at night, that's what, that's what this music is all about. And that's true for a lot of these songs, I think. But yeah, there's something about that song in particular. It's just so smooth, man. Yeah. You know, the subtle saxophone sample that kind of gets thrown in there. It's just great, man.

I love it. Yeah. Let's move along to, to. track, I think it's the very next track on the album. So that would be track number three. Now that depends on if you are playing this. That's a good point, Q. On CD or streaming it or if you've got the actual LP because the order is completely different on the LP. That's true.

Either way, this track is called Yasawas. Or Yasawas? I have no idea, dude. Hey, were you playing, were you at the arcade yesterday? yes I was there you go so this is this is yes I was yeah there's just something

about this music man it just exudes I'm like cool you know cool it's just it's dark it's moody yeah it's dark

dude but it's got it's got almost this especially with this drag that kind of like almost like kind of like this off kilter kind of like

yeah it's almost like you're you know kind of like Like this uneven, like, kind of your balance, you're losing your balance a little bit. Almost like, you know, if you were to try to think of like a scene in a movie or something like that, this could be like, you know, somebody just walked out of like a, like a, you know, they're in like a haze or something like that. They just walked out of a bar after tossing back a few or something like that.

Or some sort of drug binge or something like that, you know. Yeah, a drug-fueled night on the town. Exactly. And it has to be at night, obviously. Yeah. But yeah. It's like a fever dream or something. Yeah. But there's just so many things, so many samples, the drums, like you were saying to me, while the song was playing.

You know, that's not a real drum beat, obviously. It's sampled and manipulated, but it works perfectly. And what's interesting about it is, like, it'll go in these really fast, like, sped-up moments. And then it kind of circles back to this kind of. a more slow standard drumbeat. And that's kind of, you know, contributes to that vibe of the song where it's just kind of like,

you're kind of, it's kind of flowing, you know, in and out from these, these different tempos and... Dude, uh... What's that? You know what I just read? It's pretty fucking cool. Didn't know this.

Um, album art for Brie Collage. I was about to tell you that, dude. I was saving that for later. Yeah, so it's part of Alexander Lieberman's sculpture that's called Olympic Iliad

and it's located at the base of the space needle in Seattle. I have seen this sculpture, dude. There you go, man. Next time you're there, you should try to like find the exact angle. Yeah. That's fucking cool, dude.

Yeah. So. Neat. Neat. So yeah, here's another interesting thing about Eam and Tobin. we've mentioned this before when we talked about

Kings of Convenience and I want to say when we talked about another group as well but he does not have any formal training in music theory he does not come

from a music family basically I mean and that's impressive to me because anytime you're dealing in my well not in my opinion

but jazz right jazz is very complicated thing thing to master yeah so it's not like he is composing jazz music but you have to know when you're listening

to jazz records what to pull in and if it'll work together with bass lines and the drumbeat and the saxophone and this and that. And what's interesting is his first three albums all of the sound sources that he pulled together to produce this music

came from his personal collection of vinyl records. Oh, that's cool. Yeah. So that is cool. So anyway, yeah, so as you can hear, most of his music focuses on break beats from jazz and blues and kind of taking those and putting them into more complex patterns and stuff. And that's kind of what he was kind of known for is like what he would do with his samples, more so than most trip hop artists from that time. like I said

I've always kind of put him in his own he's kind of over here on his own you know yeah he is very unique so we're just breezing around along here here Q I got one more track for you

this one is called defocus and let's see if this kind of follows the same pattern as far as the vibes that it's putting out I have a feeling it will. Let's find out. It doesn't get any cooler than that.

You know what I mean? Yeah. And I feel like that's kind of underselling it a little bit. But yeah, you know, I feel like there's just something about the 90s, sort of this underground trip hop and down tempo scene. Like, I feel like it goes right along the same line of, as like movies like Fight Club or like, Oh, yeah. You know, seven, remember that movie seven?

Oh, yeah. They all had these sort of dark, this sort of, uh, noir vibe to them. And I feel like music like this, uh, was like the perfect companion to it. And I know that a lot of, a lot of, uh, those types of artists were featured on those movies, you know? on those movies with Brad Pitt What's that? Yeah, basically, right? That's funny.

Yeah, right? What's that other one? Ocean's 11? Well, yeah. Yeah, you know, you got your down tempo. Your heist movies, yeah. Ocean's 11 definitely had a lot of

a lot of down tempo in it. So yeah, I just feel like there was something about the 90s that this kind of music was, especially like if you go through that, The top 50 trip-hop, I mean, it's all from the 90s. That's just, that was when the stuff was being made, you know. Yeah.

It seems kind of like it was an underground thing, you know. And a lot of people credit massive attack and Portishead as kind of being kind of where that originated from. So, yeah, if you like jazz and you like hip-hop, this is the perfect marriage of that stuff, man. Dig deep into this genre. It's just, it's got so many great gyms in it, you know. And this is just one of those albums you could put on and just push play, you know, get in your car and drive around at night, go to drive around the city and just have this stuff playing out in the background, man. It's perfect.

Yeah, it's perfect for that. All right. So that's it, man. That was a quick look. I feel like this is going to be a short episode, I feel like. That's okay. Yeah, you know what I did. I mean, you know, you get a good idea of each track with one clip.

most of our episodes we have a couple clips at least Yeah and you know There's no lyrics here so there's really no diving into lyrics like we did with the Fleet Fox's episode It's just a lot it's just basically this killer trip hop record man I think a lot of it and this just happens whenever you listen to Whenever I'm listening to something instrumental Like there's no imagery being offered up to you through lyrics or anything so

Right just sort of Figure out the movie that you at least I always I figure out the scene in the movie that this is going to be a soundtrack to you know yeah and for

Aiman Tobin it's it's you know those movies that we talked about those types of scenes and it just it just has that really kind of dark moody but still kind of like the really cool kind of vibe to it you know

yeah like the heist movie yeah or movies like you know the noir stuff so anyway that's that man so for the outro but before we wrap up um i think we need to give a proper shout out to the animal collective community on reddit so we like to post our links to our episodes on the uh subreddits of the artists that we cover just to you know hopefully to get some some fans of the artists to check out our episodes and

What we really hope to get out of it is maybe some dialogue, you know, with some, some reditors, some music fans. And shit, dude, the Animal Collective subreddit delivered, man. Did you get a chance to read some of the comments? Yeah, man. I mean, they really, you know, they gave the kind of, like, back and forth and, like, feedback that we kind of were hoping for when we launched this podcast, really. Yes. Well, of course, what... Call us out on our, you know, call us out on our mistakes.

Yep. And, yeah, and start a discussion on the music that we love, dude. That's what this is all about. Yeah, exactly. Continue, basically continue where we leave off on the episode. Yes. Tell us what you like about the record or the artists that we talked about. Tell us where you think we were wrong, you know?

Yep. So, I don't know if I'm going to actually call out this person by name. But one of the redditors on here kind of called me out on something that I had wrong about. Well, for one, I kind of just, you know, I talked about what Noah Linux and A.V.Tare bring to Animal Collective. and then I kind of just threw Deakin and geologists. I just kind of lumped them in as like, oh, they do this and that. They, you know, they make the other sounds for the band.

I didn't really go to detail. Well, this guy on Reddit kind of went into a little bit more detail for me. He goes, so Deakin does mainly guitar work for Animal Collective. Geologist mainly deals with the samples. And Panda Bear actually does do. rhythm sometimes as well. He does play the drum kit at shows sometimes. And then he goes on to say that Deakin wasn't around for Maryweather post pavilion and it's claimed that his absence is a reason as to why the album sounded so different. Now that's interesting to me, dude. You wouldn't think that some,

I don't know, like just listening to Maryweather, it is so different. And some people, or thinking that it might be because Deakin wasn't around for it. I don't know why I just never thought of him as a big part of their sound. I don't know why that. I always just think of just Panda Bear and A.V. Ter as the two main musicians of the band, you know. Right, right, yeah. He says, last thing was that the name of the band Animal Collective was used for the Sung Tong's album, more because of their idea of allowing certain members to drop off albums here and there

and allowing them to come back for others and still keeping the animal collective name. So I had thought that, or well, rather I had read somewhere that it was more like a record label kind of pressure. That kind of pressured them into keeping it under the animal collective name. But he points out that they weren't even really signed to a major record label at that time anyways. So you know, it's funny, dude. Why now? You know what's funny, man. What if that guy's wrong?

No, I know. I know, dude. But no. You know, I have no reason to believe him. Yeah. That's what, you know, the internet. It's all about, dude. Somebody says something that sounds right and, you know,

just kind of believe him. And keep on moving with your life. Yeah. Other people were kind of, there's some conversations started. about whether or not college is legitimately a song or if it's just filler which is great. Well, that's what I was asking.

Yeah, yeah. But I think we played it because, you know, we played it for that reason, right? Because it's so not a song, right? I mean, it's like it just sounds like it's them messing around. One person here says if you see them perform live college is arguably

the centerpiece of the whole set. So now you saw them play that Well I saw them play sung tongs in its entirety But right so you saw college Of course because they played the entire album But this guy's saying even you know Even in their regular live shows Where they're just playing

Songs from this album or that They will always play college Because it's a song that So many of their fans love Which is so Interesting to me Because like You know, it's a 53 second.

It's not a song. It's not. Right. Exactly. But, yeah, it's something. And someone else says, I concur with this statement. Absolutely. It was definitely a focal point of their show in Denver, truly a magical experience.

Interesting. So there you go, man. So, yeah. You know, like you said, shout out to them. Yes. They gave us the feedback that we were hoping for. the community that we were hoping for. Yes, they helped us set their record straight.

So thank you. Yeah, that's right. So anyway, we're going to do the same, obviously, for this episode. So we're going to post this on the Aymn-Tobin Reddit, maybe even the Trip Hop Reddit. And, you know, we encourage you to go on there and start a conversation with us, you know. Or if you don't like Reddit, give us a comment on SoundCloud. Give us a rating on iTunes. Yes.

we want to hear from you. So there you go. So anyway, the artists that we're closing out with today is, her name is Jow Gilberto. Actually, I'm sorry, it's his daughter, Bebel, Gilberto. Of Getson Gilberto fame, right? Yeah, exactly, of Getson Gilberto fame. Oh, yeah. Girl from Mim Panina.

That's right. So her dad was Jow Gilberto. Oddly enough, she is not the daughter. of Astrid Gilberto, who sang on that record. But anyway, so she actually pretty much just uses the Amon Tobin song Nova as the sort of backing track for this song that was on a 2000 record called Tanto Tempo, which is an electronic Basanova record. So Tobin collaborated

with her on this one track and as far as I can tell it, it's literally just Nova as the backing track like I said. Yeah. Cool. But anyway, Nova came out on the 1998 release Permutation,

which was Aiman Tobin's second album. But other way, I think it's kind of cool to hear that song have some vocals on top of it. So anyway, that'll do it.

Like we said, you can find us on SoundCloud or iTunes. We're also on Stitcher. Or you can just go to our website, no fillerpodcast.com. And that's it. Next week we'll talk about, well, our next, I guess our next full-length album, full-length episode in a couple weeks will be on the album. What are they called? Can.

Can. Yeah. German experimental rock band. Yeah, dude. Yeah, I'm excited. Yeah, I'm pumped in. Yeah. And until then, we'll have a sidetrack episode out for you next week, likely with another trip hopper down-tempo artist.

So anyway, that's it. My name is Travis. And I'm Quentin. Bye-bye. It's better be a legre than be sad. Aligree is a better Coyza that exists It's like a light

No, Cora But to To do samba It's a Bucat a bit of Trestesa

It's a Bucat of a Trestesa If not a samba No To do samba

Not To be a Bata And who does Samba Soe Not is of nothing, A bon sambe is a form of aura sanct.

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