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Bricolage

by

Amon Tobin

 
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Bricolage
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Avg: 4.0 (124 ratings)

The drum 'n' bass guru's brilliant debut weds hot jazz energy with a voracious appetite for sound.

  • We Say...

    First gaining notice as Cujo in the mid '90s, Amon Tobin combined jazz flourish, jungle density and the rhythmic sensibility of his native Brazil, making for one of the most unusual sonic palettes in all of drum 'n' bass. Breakbeats are certainly crucial to the success of Tobin's 1997 debut under his own name, but they're often secondary to the many other things going on in the mix: the taut upright bass, clanging bells and Krazy Kat piano of "Creatures"; the radically rearranged small bop combo at the center of "Stoney Street," dusted with translucent strings; the aptly titled "Chomp Samba," a Brazilian-tinted score for a ninja battle in an underground cave. Appropriately enough, Tobin would go on to greater fame in the mid '00s as the composer for the Tom Clancy-derived video game Splinter Cell 3.

  • They Say...

    Amon Tobin's jazz-jungle fusions as Cujo (for upstart label Ninebar) earned him many props, but that began to change with his debut for Ninja Tune. Blurring the already vague line that separates jungle's rhythmic meditations from those of the hottest jazz (Elvin Jones, say, or Jaco Pastorius), Bricolage manages a difficult hybrid of heart, soul, atmosphere, and brain-bending plunderphonics that loses neither perspective nor direction over the course of the albums. Like his preceding EPs Creatures and Chomp Samba (from which a few of Bricolage's cuts derive), the album mixes fast and slow but maintains a solid focus on innovation without sacrificing a sense of purpose. Somehow, Bricolage manages to be both consistent and consistently engaging, a feat few drum'n'bass LPs seem able to manage.

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