Tracklist

Journeyman 6:39
Piece Of Paper 2:40
Goto 10 4:20
Surge 2:05
Lost & Found 4:54
Wooden Toy 2:25
Mass & Spring 4:16
Calculate 1:33
Kitty Cat 4:17
Bedtime Stories 3:44
Night Swim 5:57
Dropped From The Sky 7:11

Versions (14)

Cat# Artist Title (Format) Label Cat# Country Year
ZENCD168 Amon Tobin ISAM(CD, Album, Car) Ninja Tune ZENCD168 UK & Europe 2011 Sell This Version
ZENCD168X Amon Tobin ISAM (Control Over Nature)(CD, Album, Ltd, Boo) Ninja Tune ZENCD168X UK 2011 Sell This Version
NLSCD057 Amon Tobin ISAM : Licensing Edition(2xCD, Album, Comp, Dig) Ninja Tune Licensing Sampler NLSCD057 UK 2011 Sell This Version
none Amon Tobin ISAM(13xFile, AAC, Album) Ninja Tune none 2011
ZENDNL168 Amon Tobin ISAM(13xFile, MP3, Album, 320) Ninja Tune ZENDNL168 UK 2011
ZENDNL168 Amon Tobin ISAM(13xFile, WAV, 24 ) Ninja Tune ZENDNL168 UK 2011
ZEN168 Amon Tobin ISAM(2xLP, Album) Ninja Tune ZEN168 UK 2011 Sell This Version
ZEN168 Amon Tobin ISAM(2xLP, Album, Ltd) Ninja Tune ZEN168 UK 2011 Sell This Version
ZEN168, ZENCD168X Amon Tobin ISAM(2xLP, Album, Ltd + CD, Album, Art) Ninja Tune, Ninja Tune ZEN168, ZENCD168X UK 2011 Sell This Version
ZEN168 Amon Tobin ISAM(2xLP, Album, Promo, W/Lbl) Ninja Tune ZEN168 UK 2011 Sell This Version
BRC-295 Amon Tobin ISAM(CD, Album) Beat Records BRC-295 Japan 2011 Sell This Version
Barcode37CD Amon Tobin ISAM(CD, Album) Barcode Records Barcode37CD Poland 2011 Sell This Version
ZENCD168 Amon Tobin ISAM(CD, Album, Unofficial) Ninja Tune (2) ZENCD168 Russia 2011 Sell This Version
ZENCD168P Amon Tobin Isam (CD, Album, Promo) Ninja Tune ZENCD168P UK & Europe 2011 Sell This Version

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Metalluthier

Metalluthier

July 29, 2016
referencing ISAM, 2xLP, Album, Ltd + CD, Album, Art, ZEN168, ZENCD168X
Also the people who are upcharging for this... You can just buy the two pieces separate. You're gonna pay $500 for a t shirt?
Headphone_Commute

Headphone_Commute

October 4, 2012
edited over 5 years ago
referencing ISAM, 13xFile, WAV, 24 , ZENDNL168
Listening to Amon Tobin’s latest album requires preparation. You can’t just throw on the record in the background and expect it to woo you. It requires a certain setting, a certain mood, a focused attention and an acute sense of perception. ISAM is a new full length release from Tobin since his 2007 Foley Room. And since it took him over four years to produce his most intricate and intense work to date, I can certainly take an hour of my time to fully absorb it. Actually, let’s make that an entire day. ISAM is more than an album. Subtitled “Control Over Nature” it is a also collaboration with Saatchi Collection artist Tessa Farmer, which extends into an installation, an audio/visual show, an artbook, a film, and a collection of stunning photography. So where do I start?

At the center of the album, whether through visual or auditory means, we are confronted with recurring themes of “sensory deprivation, disorienting situationism and the mechanisation of natural things”. The latter is accentuated with Farmer’s occult sculptures, constructed from organic elements, and pieces of roots, dead insects, and bits of bones. Working together on this concept, Tobin and Farmer are both “re-arranging and augmenting natural elements to make something imagined but tangible”. The main focus of Farmer’s installations are insects, devouring decomposing flesh, while controlled by supernatural fairy-like skeletal creatures. In the same sense, Tobin’s compositions are constructed from a wide range of organic source material, seamlessly incorporating field recordings with complex sound synthesis, incredibly sophisticated sound production and warping skeletal structure of the rhythm. Together, these images and sounds are archived in a special 10×7″ black cloth hardback artbook, featuring photography by Pelle Crepin. A deeper exploration on this work is featured in the form of an essay by John Doran (founder of Quietus).

To fully appreciate Amon Tobin’s achievement with ISAM, one must quickly traverse his musical career. Let me help you with that. Amon Adonai Santos de Araújo Tobin was born in Rio de Janeiro, Brazil. Traveling with his family around Europe, Tobin eventually settled in Brighton, England and began producing tracks with a sampler and a 4-track. His debut Adventures in Foam was released under the Cujo moniker on Ninebar Records. In 1997, Tobin finally landed on Ninja Tune with his critically acclaimed Bricolage. Although still mostly sample based, the album had a heavier jazz influence and more complex drum patterns. For his third album, Permutation (1998), Tobin continued working with mutated rhythms and loops, establishing his own instantly recognizable style. This genre-defining approach finally reached commercial appeal with Supermodified (2000). At this point, Tobin was already focused on turning familiar sounds inside out, obsessed with modification of original source beyond all recognition.

In 2002, Moving closer to Ninja Tune’s North American Headquarters, Tobin found himself surrounded by the industrial area of Montreal, Canada. Finally working out of a professional studio, Out From Out Where put aside jazzy riffs, and took on a darker, colder, moodier side. Two years later, Tobin was contacted by Ubisoft to compose a soundtrack for a video game, Splinter Cell. The new approach to sound design and production, opened up a whole new world, challenging Tobin to compose individual parts which could be assembled in real-time with unfolding events. Working with the company’s sound effects crew, Tobin became fascinated with the reproduction of realistic sounds for soundtracks, named after Jack Foley, which culminated into his sixth album, appropriately titled Foley Room. At this point, Tobin finally disentangled himself from previously sourced material, and began recording his own sounds. Quickly skipping Tobin’s collaboration with Joe Chapman as Two Fingers we arrive at ISAM.

Although ISAM is entirely different in style from Tobin’s earlier works, and as such may not be instantly welcomed by his faithful followers, the album is a logical progression in sound design, experimentation and exploration for an artist with such a defined path. Listening closely, one immediately senses the amount of work and attention to detail that went into every single micro second of the record. Gone are the scratchy vinyl loops interlaced with sample triggered beats and glitchy percussion of Bricolage. Enter the tightly coupled, complex, clearly cryptic convolutions, that at times rush, stagger and fall over each other and then as effortlessly are left to pause, ponder, and catch their breath. Managed within a framework of rubber-band rhythms, pattern defying progressions, and just enough razor-sharp rumbling bass, the musical beauty of ISAM unfolds through its own metamorphosis, like an alien insect shedding its exoskeleton.

Saturated with evocative aural imagery, an in-depth listening of ISAM is rewarded with an interplanetary ascent into a world where self-aware machines use home grown brain-tissue for their neurological computation, following by an unpredictable dive into a dark cavernous space of enormous proportions where sonic frequencies reverberate through every warping surface. Stitched from self-created field recordings, found sounds, and obscure DSP-rich programming, ISAM is a microscopic exploration into the nature of rhythm and sound. Everything is composed of new and ‘made-up’ instruments, including every percussive element. Even the vocals are synthesized and gender modified – an ultimate feat in having “control over nature”. As Amon Tobin says himself at the beginning of his track-by-track commentary accompanying his full-album stream on SoundCloud: “Anyone looking for jazzy breaks should look elsewhere at this point. It’s 2011 folks. Welcome to the future.“
cosanostrakriminal

cosanostrakriminal

March 21, 2012
referencing ISAM, 2xLP, Album, Ltd + CD, Album, Art, ZEN168, ZENCD168X
You can still buy this version on the Ninja Tune website so don't go paying stupid money for it.
Decay_K

Decay_K

February 21, 2012
referencing ISAM (Control Over Nature), CD, Album, Ltd, Boo, ZENCD168X
I don't understand people claiming ISAM is so very different compared to his other releases really.
Lose a few fans? If he loses 10, he gains 10.000 new ones. It's a masterpiece. And this goes to the people who constructed his Cube, they doubled the art value of ISAM. It is the most powerful thing I have ever seen.
MRCymbalic

MRCymbalic

December 20, 2011
edited over 5 years ago
referencing ISAM, 2xLP, Album, Ltd, ZEN168

Who has beef with this album? Tobin fans need to chill out about this release. This is exquisite work, regardless of who created it, obviously a master of their craft – in both design and execution – so what’s the problem? I don’t see any.
This album could be summed up in one word. The word is confident. And since Tobin may lose a few fans for being himself, so be it. I like the confidence to produce something for yourself. It’s not always about the audience. Matter of fact, true art does not pander to a screaming public, it usually just manifests before the eyes and has instant value for just existing – this album could easily work toward that cause.

There is such a playful, almost whimsical appeal to the absurdity of sound bites used to compile beats and establish structure, but that in no way hinders the output of creativity and conscious thought that went into the entire production.
This album may feel minimal, maybe. But compared to what? Previous Tobin material? Who cares. Self-improvement is what happens when an individual knows there are no limits to what they can do.

I love knowing this is Tobin behind the glass but I also enjoy listening to it and forgetting it’s on and soon enough I am saying to myself: ‘who is this? what am I listening to?’ Wonderful surprises, completely new to the ears, every time.

Right here and right now, this is the refinement I’ve been waiting for -- Amon Tobin couldn’t have marked history at a better date. True bliss during terrible times.
Headphone_Commute

Headphone_Commute

July 26, 2011
referencing ISAM (Control Over Nature), CD, Album, Ltd, Boo, ZENCD168X
Listening to Amon Tobin’s latest album requires preparation. You can’t just throw on the record in the background and expect it to woo you. It requires a certain setting, a certain mood, a focused attention and an acute sense of perception. ISAM is a new full length release from Tobin since his 2007 Foley Room. And since it took him over four years to produce his most intricate and intense work to date, I can certainly take an hour of my time to fully absorb it. Actually, let’s make that an entire day. ISAM is more than an album. Subtitled “Control Over Nature” it is a also collaboration with Saatchi Collection artist Tessa Farmer, which extends into an installation, an audio/visual show, an artbook, a film, and a collection of stunning photography. So where do I start?

At the center of the album, whether through visual or auditory means, we are confronted with recurring themes of “sensory deprivation, disorienting situationism and the mechanisation of natural things”. The latter is accentuated with Farmer’s occult sculptures, constructed from organic elements, and pieces of roots, dead insects, and bits of bones. Working together on this concept, Tobin and Farmer are both “re-arranging and augmenting natural elements to make something imagined but tangible”. The main focus of Farmer’s installations are insects, devouring decomposing flesh, while controlled by supernatural fairy-like skeletal creatures. In the same sense, Tobin’s compositions are constructed from a wide range of organic source material, seamlessly incorporating field recordings with complex sound synthesis, incredibly sophisticated sound production and warping skeletal structure of the rhythm. Together, these images and sounds are archived in a special 10×7″ black cloth hardback artbook, featuring photography by Pelle Crepin. A deeper exploration on this work is featured in the form of an essay by John Doran (founder of Quietus).

To fully appreciate Amon Tobin’s achievement with ISAM, one must quickly traverse his musical career. Let me help you with that. Amon Adonai Santos de Araújo Tobin was born in Rio de Janeiro, Brazil. Traveling with his family around Europe, Tobin eventually settled in Brighton, England and began producing tracks with a sampler and a 4-track. His debut Adventures in Foam was released under the Cujo moniker on Ninebar Records. In 1997, Tobin finally landed on Ninja Tune with his critically acclaimed Bricolage. Although still mostly sample based, the album had a heavier jazz influence and more complex drum patterns. For his third album, Permutation (1998), Tobin continued working with mutated rhythms and loops, establishing his own instantly recognizable style. This genre-defining approach finally reached commercial appeal with Supermodified (2000). At this point, Tobin was already focused on turning familiar sounds inside out, obsessed with modification of original source beyond all recognition.

In 2002, Moving closer to Ninja Tune’s North American Headquarters, Tobin found himself surrounded by the industrial area of Montreal, Canada. Finally working out of a professional studio, Out From Out Where put aside jazzy riffs, and took on a darker, colder, moodier side. Two years later, Tobin was contacted by Ubisoft to compose a soundtrack for a video game, Splinter Cell. The new approach to sound design and production, opened up a whole new world, challenging Tobin to compose individual parts which could be assembled in real-time with unfolding events. Working with the company’s sound effects crew, Tobin became fascinated with the reproduction of realistic sounds for soundtracks, named after Jack Foley, which culminated into his sixth album, appropriately titled Foley Room. At this point, Tobin finally disentangled himself from previously sourced material, and began recording his own sounds. Quickly skipping Tobin’s collaboration with Joe Chapman as Two Fingers we arrive at ISAM.

Although ISAM is entirely different in style from Tobin’s earlier works, and as such may not be instantly welcomed by his faithful followers, the album is a logical progression in sound design, experimentation and exploration for an artist with such a defined path. Listening closely, one immediately senses the amount of work and attention to detail that went into every single micro second of the record. Gone are the scratchy vinyl loops interlaced with sample triggered beats and glitchy percussion of Bricolage. Enter the tightly coupled, complex, clearly cryptic convolutions, that at times rush, stagger and fall over each other and then as effortlessly are left to pause, ponder, and catch their breath. Managed within a framework of rubber-band rhythms, pattern defying progressions, and just enough razor-sharp rumbling bass, the musical beauty of ISAM unfolds through its own metamorphosis, like an alien insect shedding its exoskeleton.

Saturated with evocative aural imagery, an in-depth listening of ISAM is rewarded with an interplanetary ascent into a world where self-aware machines use home grown brain-tissue for their neurological computation, following by an unpredictable dive into a dark cavernous space of enormous proportions where sonic frequencies reverberate through every warping surface. Stitched from self-created field recordings, found sounds, and obscure DSP-rich programming, ISAM is a microscopic exploration into the nature of rhythm and sound. Everything is composed of new and ‘made-up’ instruments, including every percussive element. Even the vocals are synthesized and gender modified – an ultimate feat in having “control over nature”. As Amon Tobin says himself at the beginning of his track-by-track commentary accompanying his full-album stream on SoundCloud: “Anyone looking for jazzy breaks should look elsewhere at this point. It’s 2011 folks. Welcome to the future.“
kronicalc

kronicalc

July 14, 2011
edited over 6 years ago
referencing ISAM, CD, Album, Car, ZENCD168
If my dreams had a soundtrack it would be ISAM
fts72

fts72

June 17, 2011
referencing ISAM (Control Over Nature), CD, Album, Ltd, Boo, ZENCD168X

Amon Tobin redefining what listeners expect to hear from amon Tobin. Certainly in my ears his most interesting work since the fabulous trilogy of the nineties (bricolage,permutation,supermodified). All the incredible drum-based rythms seem to have disappeared (although they are still here if you listen carefully to the rythmic organisation of his sounds) and the focus is more on the imbrication of the strangest of samples and very well produced sound work "foley room" style. This album has a more sweat and mellow energy, even verging at moments towards folk-pop music (ladenned with tobin's love of sound and tweaked samples though). And he still masters composition and organisation of the chaos he produces like no one, and production is perfect. A most welcomed evolution from maybe the most interesting musicians of the sample era.
Fluxx69

Fluxx69

May 23, 2011
referencing ISAM, 2xLP, Album, Ltd, ZEN168
Amon Tobin has just released ISAM and I bet he was anticipating its release as much as his fan's were, he was obviously quite eager for people to hear ISAM, considering that he posted the whole album for everyone to listen to in such places as soundcloud.com, or he was trying to beat the pirates at their own game. Either way ISAM is easily Amon Tobins most experimental album to date, which is really saying something as all his albums are quite experimental already.

The major factor that sets ISAM apart from Tobins previous albums is the sparsity of the beats when there are any to be heard. Amon Tobin is, it seems, trying to redefine what it is we should expect from him and from music in general, and what he expects from himself. ISAM is Amon Tobin doing to "dance" orientated music what Diamanda Galas has done to blues and rock, strip it back to its most basic foundations, rip apart what is left behind and reassemble it in such a manner as to make it completely undefinable and then add their own touch to it. All the usual Amon Tobin signatures are present, with what seems to be an added level of spontaneity and sporadic single shot crunching beats or sub bass sounds.

If you weren't curious before of what lurked inside Amon Tobins head, this album should change all that. ISAM is not an easy album, but then easy albums are what the Gaga's of the world produce, ISAM is an album made to be explored over and over again even if it is just to make sure you heard what it is you think you heard the first time round. Personally, I think ISAM is Amon Tobins best album and after ISAM I'm really, really looking forward to what he will come up with next.
Gott

Gott

May 21, 2011
referencing ISAM, 2xLP, Album, Ltd, ZEN168

A great adventure in beats & sound! Very cool!!!