Nuspirit Helsinki "Nuspirit Helsinki"

Artist: Nuspirit Helsinki
Album: Nuspirit Helsinki
Label: Guidance Recordings
Release date: 30 April 2002
Genre: Electronic
Style: Nu Jazz/Downtempo/Breakbeat
RIYL: Jazzanova, Koop, Thievery Corporation

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Tracklisting:
01. Honest [Feat. Nicole Willis]
02. Subzero
03. Trying [Feat. Lisa Shaw]
04. Silent Steps [Feat. Ona Kamu]
05. Circular Motion
06. Hard Like A Rock (Nuspirit Emorph) [Feat. Daddy Ous]
07. String Interlude
08. Orson (Album Mix)
09. I Wonder (2:14 AM) [Feat. Chuck Perkins & Ona Kamu]
10. Montana Roja
11. Seis Por Ocho (Original Jazz Session Mix)
12. Skydive [Feat. Tommy Lindgren]
13. Skydive Outro
Total running time: 65' 42"

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[Nuspirit Helsinki - Honest - Video Clip]

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[Bebel Gilberto - Winter (Nuspirit Helsinki remix) - Video Clip]

"Nuspirit Helsinki is a multi talented Finnish collective of DJ’s, producers, and musicians that has ascended to the forefront of the burgeoning European neo jazz scene on the strength of their peerless productions for Guidance, Jazzanova/Compost and Ubiquity. The group was conceived in 1998 by founding members Tuomas Kallio and Hannu Nieminen (a.k.a. DJ Ender) who enlisted a core group of Helsinki’s finest musicians to develop a dynamic 21st century big band sound informed by a wealth of jazz, funk, soul, afro, and Latin influences. Equally inspired by cutting edge hip hop, nu soul, broken beat, two step and drum and bass sounds, Nuspirit’s musical mission is to fuse live organic instrumentation with warm, dubby electronic textures to produce soulful and sophisticated music that can be enjoyed on or off the dancefloor.

The group’s barrier breaking debut single “Take It Back” was released on Guidance in March 1999 and has since attained cult classic status in both deep house and eclectic DJ circles. Refusing to limit their sound to any specific sub-genre, the band took things to the next level on their red hot and relentlessly funky follow up single “Makoomba Breaks,” combining masterful musicianship with sizzling percussion to create this sultry afro-beat classic. The single includes an extended re-edit of “Afro-Cuban Sunshine” the standout track from Guidance’s acclaimed Mundial Muzique collection which was charted by all of the right DJ’s and embraced by a cross section of electronic and traditional world music fans across the planet. Changing directions once again, Nuspirit dropped their amazing “Montana Roha Jazz” EP on pioneering German label JCR in the winter of 2001 to a rapturous response. A tribute to the band’s vision and versatility, this orchestral jazz dance masterpiece elevated Nuspirit Helsinki to the forefront of the blossoming European nu-jazz movement alongside pioneering artists like Jazzanova, Incognito, Four Hero, and Kruder and Dorfmeister. Enlisting the support of the musicians that performed on their previous singles, Nuspirit took their big band show on the road in the summer of 2001, dazzling crowds at Jazz and Electronic music festivals across the continent with their forward thinking fusion of accomplished musicianship and relentless dancefloor energy.

After completing their tour, the band retreated to its Helsinki studio to record their eagerly anticipated debut album which features contributions from an all star cast of vocalists, including: Naked Music’s resident diva Lisa Shaw, Brooklyn bred nu-soul chanteuse Nicole Willis, acclaimed Chicago spoken word artist Chuck Perkins, and Nuspirit’s resident blue eyed soulstress Ona Kamu. The end result is an exquisite long player fusing smokey live jazz funk arrangements and melodic nu-soul grooves with dark undulating broken beat rhythms to propel the Blue Note jazz sound safely into the future. Released in May 2002, Nuspirit’s eponymously titled debut album is already in regular rotation on Gilles Peterson’s seminal World Wide Radio Program and is receiving maximum support from a host of taste making DJs, including: LTJ Bukem, Jazzanova, Thievery Corporation, Norman Jay, Patrick Forge, Kyoto Jazz Massive, Dr. Bob Jones, U.F.O. and many more." [source]

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Telefon Tel Aviv "Remixes Compiled"

Artist: Telefon Tel Aviv
Album: Remixes Compiled
Label: Hefty
Release date: 15 May 2007
Genre: Electronic
Style: Glitch/Breakbeat/Downtempo
RIYL: Apparat, Proem, Dntel

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Tracklisting:
01. Nine Inch Nails "Even Deeper" [Telefon Tel Aviv Remix]
02. Bebel Gilberto "All Around" [Telefon Tel Aviv Remix]
03. John Hughes "Get Me Lost/Driving In LA" [Telefon Tel Aviv Remix]
04. Apparat "Komponent" [Telefon Tel Aviv Remix]
05. AmmonContact "BBQ Plate" ["Last Supper" Mix By Telefon Tel Aviv]
06. American Analog Set* "The Green Green Grass" [Telefon Tel Aviv Remix]
07. Midwest Product "A Genuine Display" [Telefon Tel Aviv Remix]
08. Oliver Nelson "Stolen Moments" [Telefon Tel Aviv Remix]
09. Phil Ranelin "Time Is Running Out" [Telefon Tel Aviv Remix]
10. Nitrada "Fading Away" [Telefon Tel Aviv Remix]
11. Marc Hellner "Asleep On The Wing" [Telefon Tel Aviv Remix]
12. Slicker "Knock Me Down Girl" [Telefon Tel Aviv Remix]
Total running time: 53' 53"

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[Telefon Tel Aviv - What It Is Without The Hand That Weilds It - Unofficial Video Clip]

"From the opening bars of their remix of Nine Inch Nails' 'Even Deeper' (the opening track to this collection) you know you've got an hour or so of the most sumptuous electronica ahead of you. This remix was actually the band's first track together under the Telefon Tel Aviv moniker, dating back to 2000 and all the band's distinctive auditory trademarks were in place even then: the impossibly high fidelity recordings, the vastly complicated rhythmic methodologies and the near superhuman attention to detail. Skip forward to TTV's reworking of Bebel Gilberto's 'All Around' and you're in for another widescreen electronic treat, with all the key elements of the original handled with the utmost delicacy only to be bolstered by a crackling ocean of frazzled electronics. Other standout moments crop up when Apparat's 'Komponent' gets tweaked to futuristic pop perfection and Oliver Nelson's orchestral 'Stolen Moments' gets a subtle circuit bending. A masterclass in electronic production techniques and no mistake." [source]

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Four Tet "Remixes"

Artist: Four Tet
Album: Remixes [2CDs]
Label: Domino
Release date: 25 September 2006
Genre: Electronic
Style: Breakbeat/Hip Hop/Downtempo/Nu Jazz
RIYL: Prefuse 73, Pedro

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Tracklisting:

Remixes
01. Lars Horntveth "Tics" [Four Tet Remix]
02. Radiohead "Skttrbrain" [Four Tet Remix]
03. Madvillain "Money Folder" [Four Tet Remix]
04. His Name Is Alive "One Year" [Four Tet Remix]
05. Sia "Breathe Me" [Four Tet Remix]
06. Aphex Twin "Untitled (SAW2 CD1 Track1)" [Four Tet Remix]
07. Madvillain "Great Day" [Four Tet Remix]
08. Bonobo "Pick Up" [Four Tet Remix]
09. Rothko "Roads Become Rivers" [Rivers Become Oceans - Four Tet Remix]
10. Beth Orton "Carmella" [Four Tet Remix]
11. Bloc Party "So Here We Are" [Four Tet Remix]
12. Pole "Heim" [Four Tet Remix]

Remixed
01. A Joy [Feat. Percee P]
02. As Serious As Your Life [Jay Dee Remix]
03. Hilarious Movie Of The 90's [Manitoba Remix]
04. Hilarious Movie Of The 90's [Koushik's Funny Flic]
05. A Joy [Remix]
06. My Angel Rocks Back And Forth [Icarus Remix]
07. A Joy [Battles Remix]
08. As Serious As Your Life [Remix]
09. A Joy (Feat. Percee P) [Koushik's Quick Mix]
10. Sun Drums And Soil [Sa Ra Creative Partners Remix]
11. No More Mosquitoes [Boom Bip Remix]

Total running time: 122' 52"

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[Four Tet - And Then Patterns - Unofficial Video Clip]

"Four Tet Remixes is split into two discs, one devoted to Kieran Hebden's own remixes and another to remixes of his work done by his friends. It’s a concept that attracts a certain level of curiosity, for it reveals not only what influences Hebden and how he chooses to reconstruct them, but also flips the tables and does the same for his peers.

Hebden has been quite prolific as a remixer, providing new takes for musical acts that have diversified as he has evolved. Beginning with instrumental post-rock in Fridge, his first group, the past few years have also found him incorporating more genres and styles into his work, from hip-hop and jazz to world music and electro. The first disc of remixes succeeds primarily because it demonstrates his listening range and how he cleverly applies various styles of music to his heroes, all while creating soundscapes that are undoubtedly his own.

On the hip-hop front, Four Tet includes two of his five Madvillain remixes, one of which is the outstanding version of "Great Day," where ringing guitar and crashing drums change it from a casual jazz reflection to a cathartic triumph. For the ambient stylings of Aphex Twin's "Untitled," he chooses to redo it as dreamy drum n' bass, while Radiohead's "Scatterbrain" (here titled “Skitbrain”) uses wobbly xylophones, tumbling electronic drums, and clicks and cuts to augment the lulling guitar figure of the original. Even the post-rock and bedroom electronica artists that informed Four Tet's early works receive intriguing second takes. Rothko's "Roads Become Rivers" is fashioned into graceful melancholy, employing plinking acoustic guitars and a somber piano loop.

It’s too bad that the second disc doesn't offer nearly the same cohesion, fascination, or quality of the first. Whereas Four Tet's remix work discloses a multi-dimensional, intricate palette of soul and harmony, his colleagues present lazy, flat, and inferior interpretations of their source. The four remixes of "A Joy," comprising a third of the disc, all cleave too closely to the blueprint, taking three tries before a combination of Percee P's guest appearance and a slightly dissimilar beat by Koushik finally avoid repetition. The two most high-profile associates of Hebden, Jay Dee and Caribou, offer up remixes, but they were both created earlier in their careers, so they lack any of the innovation or attention to detail of their more recent output. Both fail to be especially interesting, with Caribou sticking to the placid-but-pleasant IDM of Start Breaking My Heart and Dilla doing essentially a Common beat for Guilty Simpson. The rest of the remixes fall into similar patterns—most sounding entirely too much like the originals, as if they didn't know how to do it any better.

Throughout his career, Four Tet has come off as one of the nice guys—an artist with a lot of friends. This much is obvious by the amount of remixing work he’s done here—and had done to him by others. That said, Four Tet Remixes would have benefited greatly from Hebden putting his foot down: making it a single disc and proving his relative artistic superiority in the remixing arena. As it is, the album is one disc—and about ten dollars—too much." [source]

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Pedro "You, Me & Everyone"

Artist: Pedro
Album: You, Me & Everyone
Label: Rogue/Mush
Release date: 10 February 2007
Genre: Electronic
Style: Nu Jazz/Breakbeat/Hip Hop

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Tracklisting:
01. Intro (Asleep)
02. I Am Keeping Up
03. Hellalujah
04. There Will Always Be More
05. Spools
06. Lung
07. Green Apples
08. Red Apples
09. Nothing But Pebbles
10. Hope Is A Happiness
11. Vitamins
12. Sound Song
13. You, Me & Everyone
14. Outro (Awake)
15. Slowly
Total running time: 52' 07"

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[Pedro - Open MySpace Standalone Music Player]

"Yet another folktronic artist wishes it to be known that he’s not making that stuff anymore.

James Rutledge inaugurated the Melodic label with a vinyl release as Pedro some years ago, and put out a superlative self-titled album that was one of the pinnacles of the folktronica “genre” (such as it is/was). The new album’s been a long time coming, although we had Early Pedro to tide us over, collecting his post-rock beginnings and the very fine collaboration with Kathryn Williams, reminiscent of Beaumont Hannant’s work with Lida Husik in the ’90s given a glitchy overhaul.

It’s hard not to use the word “reminiscent” with Pedro, and no doubt avoiding the folktronica tag is probably all about not being called “just another Four Tet”. It’s a bit strange (and no doubt coincidental) then that with the energetic hip-hop/breakbeat and freak-folk that adorns most of this album Pedro has managed to take much the same trajectory as Four Tet took out of his own folktronic territory. Rutledge is following his own musical tastes and influences, and it’s a shame that it hasn’t quite saved him from “sounds like”. Bright jazzy samples and bouncy hip-hop beats mean that this album fits the mould of his new home at Mush Records a little more perfectly than one might wish considering his earlier efforts. Presumably “reminiscent of Prefuse 73″ will get quite a look-in now too (mostly better than, to these ears).

That said, this is really lovely stuff. There’s a lot to take in over the album’s length, and it’s got plenty of the detailed production that was required in successful folktronica. The beats are upbeat and compelling, and if the layered saxophones get a bit much for me sometimes, there are also some great touches like the reversed time stretched melodies in the earlier part of “Spool”.

It’s really the horns that make this album something else, and if jazzy freaky saxophones, ’70s jazz flutes and the ubiquitous xylophone are more your thing than they are mine, you’ll probably want to drop everything and grab this album. I wish they were more mine too, but as it is I’m nostalgic for the pianos, orchestral bits and generally more subdued feel of the earlier Pedro (although I do dig that drum programming!)

There’s some of that here - like the Múm-like ‘Nothing But Pebbles’, marred by unnecessary glissando-ing analogue synths. I find myself gravitating more to tracks like the very Four Tet-like ‘Hope Is A Happiness’, nice strings and head-nodding beat, or the beautiful title track. The Four Tet comparisons might also be the monkey on the back of a track like ‘Vitamins’, which could easily come from Everything Ecstatic, but again the horns and woodwind take it in a slightly different direction. It’s worth remembering that the album’s a kind of dream narrative, because the arrangements here are deliberately off-kilter, contrasting with the almost techno impetus of the drumming. There’s nothing that new here, which is a shame considering that the Pedro album was such a highlight, but it’s extremely well done and will certainly earn Pedro many deserved fans." [source]

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Skalpel "Skalpel"

Artist: Skalpel
Album: Skalpel
Label: Ninja Tune
Release date: 20 April 2004
Genre: Electronic
Style: Nu Jazz/Breakbeat

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Tracklisting:
01. High
02. Not Too Bad
03. 1958
04. Together
05. So Far
06. Break In
07. Quiz
08. Asphodel
09. Theme From ‘Behind The Curtain’
10. Sculpture
Total running time: 41' 29"

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[Skalpel - 1958 - Video Clip]

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[Skalpel - Break In - Video Clip]

"Welcoming Skalpel in its roster with open arms, Ninja Tune celebrates more than the rise of a pair of talented musicians. The arrival of this record days before the European Community opened to ten new countries, if fortuitous, is a perfect illustration that European integration is more a reality today than it ever was, political union or not. Ninja had already given DJ Vadim a place to confront his musical ground with that of musicians from the UK and beyond, and now, it is the turn of Polish duo Skalpel and their exhilarating jazz-infused electronica.

Hailing from Wroclaw, the cultural capital of Lower Silesia in South Poland, a stone-throw away from the German border, Marcin Cichy and Igor Pudlo first got noticed after they interviewed DJ Vadim for a Polish hip-hop magazine and consequently toured the country with him. They then recorded a CDR, simply entitled Polish jazz, which led to the pair being signed to London-based Ninja Tune. Four Solid Steel sessions followed over a two-year period before the band finally got down to record their first album proper. Basing their work almost entirely on samples of Polish jazz records, the band claim to aim at ‘resurrecting the dusty and smoky spirit of 60’s and 70’s Polish Jazz’ by revisiting it and adding a modern touch to it. The result is somewhat reminiscent of Saint Germain’s Tourist in part, yet Skalpel refrain from giving their record too much of a dance floor feel. Instead, Cichy and Pudlo remain close to the original sonorities of their sound sources. Listening to Skalpel, it is hard to make the distinction between what has actually been sampled, and what might have been played especially for the record. And that’s perhaps the main strength of this album: sounding like a genuine jazz record without pretending to be anything special. All the way through, the pair presents a totally classic, yet fresh, soundtrack on which flourish elements of swing, bop and soul, creating an extremely consistent piece of work from beginning to end.

The album opens with the devilishly groovy High, on which the band combines congas, double bass and flute into a whirlwind of sounds and beats. Later on, a voice confirms ‘Let them play their jazz records and dance all night if they want to’ on the equally funky Not Too Bad. Although Cichy and Pudlo alternate between buoyant compositions and more reflective moments, the general mood of this record is definitely upbeat. On tracks such as the stunning 1958, Quiz or the tongue-in-cheek Theme From ‘Behind The Curtain’, Skalpel provide some slices of energy, while at other times, they demonstrates great control over their music. Together, Break In or Sculpture, which closes the album, show Skalpel venturing into more delicate and fragile constructions, yet the band retain the same driving force.

Far from the technology-conscious electronica that we have grown accustomed to, Skalpel draw from the Polish jazz scene that flourished during the Communist era the elements to create a soulful and honest collection of groovy compositions. Marcin Cichy and Igor Pudlo demonstrate all the way through a great understanding of their sound sources and a great control over their music without ever sounding arrogant or pretentious." [source]

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Kim Hiorthøy "My Last Day"

Artist: Kim Hiorthøy
Album: My Last Day
Label: Smalltown Supersound
Release date: 5 November 2007
Genre: Electronic
Style: Nu Jazz/Hip Hop/Breakbeat/Techno/Acid

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Tracklisting:
01. I Thought We Could Eat Friends
02. Beats Mistake
03. Skuggan
04. Album
05. Same Old Shit
06. Den Långa Berättelsen Om Stöv Och Vatten
07. Alt Går Så Langsomt
08. Goodbye To Song
09. Wind Of Failure
10. Hon Var Så Otydlig, Som En Gas
11. I'm This I'm That
Total running time: 44' 56"

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[Smalltown Supersound - Open MySpace Standalone Music Player]

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[Kim Hiorthøy - Alt Måste Bli Anorlunda - Video Clip]

"Norway's Kim Hiorthøy is not only regarded as one of the most exciting graphic designers in the world today (he has been on the cover of Creative Review, Grafik and Eye, and many more) - he is also an acclaimed musician and producer. "My Last Day" is his long-awaited follow up to his seminal and critically hugely acclaimed "Hei" album from 2000.

Since then he has also released the 2002 album "Melke" (a collection of remixes, 7 inches, rejected tracks and tracks for compilations), several 7 inches and 12 inches as well as his three EPs in 2004: "Hopeness", "Live Shet" (a live recording) and "For The Ladies" (a limited edition collection of field recordings). Since his debut album he has also toured the USA, Europe and Japan several times, as well as a tour in China.

Extraordinarily talented and expressive, Kim Hiorthøy operates in many different fields in addition to music. As a graphic designer he is responsible for the Rune Grammofon artwork, as well as most of Smalltown Supersound’s artwork. He is also an artist (check out www.standardoslo.no for more information about his art) and a writer. Kim wrote the book "Du kan ikke svikte din beste venn og bli god til å synge samtidig" on Norwegian literary publisher Oktober Forlag. He has released a book of photography in Japan, a book of drawings, Alt Fins, and a design book, "Tree Weekend" on Die Gestalten Verlag in Germany. Additionally, Kim has illustrated several children’s books, and has worked in film as a photographer, having shot the acclaimed Norwegian movies “Kroppen Min” and “Ungdommens Raskap”, as a video director for the concert film “Supersilent7”, and as a filmmaker, having just debuted as a director/screenwriter with the Swedish/Norwegian co-production, ”Hur Man Gör”.

Kim Hiorthøy is based in both Berlin and Oslo, but has mostly lived in Berlin over the last couple of years. He has worked on "My Last Day" on and off throughout the last two years; most of it was recorded at his Berlin studio. Compared to "Hei", the new album is less fragmented and more song based. It is also more melodic and complete, all with Kim’s characteristic sound. He often has an organic and folk-like tone to his music which XLR8R magazine recognized when they placed him in the forefront of the new electronic folk music movement with artists such as Herbert, Matmos and Four Tet. Kim Hiorthøy’s music draws influences from folk, jazz (his live sets these days are with free-jazz drum virtuoso Paal Nilssen-Love), lo-fi/leftfield electronics, acid, hip-hop, field recordings and samples. All his music is created on an MPC sampler, the original hip-hop instrument. The use of the MPC also makes Kim’s live performances much more physical than the often mundane laptop live sets in electronic music.

The music and everything else Kim Hiorthøy creates has his own unique and strong signature - that Kim Hiorthøy feeling, you might call it. On “My Last Day” Kim Hiorthøy continues to create great electronic pop music all in his distinct way and style, and all in his very own universe." [source]

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Amon Tobin "Foley Room"

Artist: Amon Tobin
Album: Foley Room
Label: Ninja Tune
Release date: 5 March 2007
Genre: Electronic
Style: Breakbeat/Drum 'n' Bass

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Tracklisting:
01. Bloodstone [Feat. Kronos Quartet]
02. Esther's
03. Keep Your Distance
04. The Killer's Vanilla
05. Kitchen Sink
06. Horsefish
07. Foley Room
08. Big Furry Head
09. Ever Falling
10. Always
11. Straight Psyche
12. At The End Of The Day
Total running time: 50' 33"

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[Amon Tobin - Foley Room - Trailer #1]

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[Amon Tobin - Foley Room - Trailer #2]

"For someone with such an uncanny aptitude for evoking a wide range of cinema-friendly mood music, Amon Tobin's potential as a soundtracker seems to have been largely unrealized. What he does have on his resumé-- the scores to stealth-kill video game Splinter Cell: Chaos Theory, a surrealist, morbid Hungarian film about taxidermy, and a car commercial in which a group of presumably nude silhouettes contort their way into the shape of an SUV-- hints at why. Since Tobin makes no distinctions between background and foreground music and tends to wring as much distortion, dissonance, and rhythmic unease as he can from his jazz and orchestral-skewing sample sources, his music tends to evoke a malevolent presence that, whether skulking or charging, easily overwhelms all but the most immersive and eye-catching visual accompaniment.

The irony in Tobin's The Foley Room is that his cinematic ear has spurred him toward different motion picture-derived source material. Paring down his repertoire of bop debris and Ennio Morricone/Jerry Goldsmith evocations, Tobin's assembled his newest album as if he's decided he's exhausted the possibilities of musical instruments themselves and gone outside with a microphone to find out what sort of ambient sounds would make good beats. It makes sense in that the only thing that separates the manipulated sound of a household appliance or the drone of machinery from an electronically generated percussive effect is the element of familiarity; given the way Tobin's samples tend to transmutate traditional orchestration into concussed unrecognizability, manipulating a non-musical effect into a similar state is an inevitable step, one that he initially took in 1998 with Permutation and has been creeping towards ever since.

But while other musique concrète specialists such as Matmos aim to bring specific messages to mind with their thematic choices of sound manipulation, Tobin's approach seems to aim strictly for the aesthetic-- like two slabs of raw steak smacked together to simulate a punch to the head in some 1930s radio serial, the meaning of the medium's less important than how the end result sounds. Some of the effects' usage is a bit self-aware of their non-musical origins: "Kitchen Sink" is just that, a booming series of splashes that sound like elastic liquid dripping into a stainless steel basin and ricocheting its way down the drain; the fuzztone in the metallic drill-n-bass of "Esther's" is boosted by the rumble of a motorcycle engine, "Leader of the Pack" style (a rumble augmented by, and this required looking up, the sound of restless wasps); the title track introduces a few clamorous mess-making tumbles and crashes, shaped into something that sounds like the collapse of a kitchen shelf set to an Art Blakey drum solo.

But not everything is as blatantly laid out: The Robitussin whir that "The Killer's Vanilla" breathes through could be anything from a slowed-down pipe organ to a creaking set of gears passed through a filter or three, not to mention the way "Keep Your Distance" blurs the lines between woodblock-and-cowbell percussion and what seems to be the clamor of a recycling bin tipping over. Since Tobin still uses his share of musical instrumentation (including a memorable Slavic-esque string melody contributed by the Kronos Quartet on "Bloodstone"), figuring where the musician ends and nature or the machinery or the junkpile begins is intriguingly confusing. Supposedly there are recordings of ants eating grass and building acoustics somewhere on this record, but damned if they're easy to pinpoint amidst the beats.

Once the novelty of the record's field recording collage-job settles down, The Foley Room proves to be rhythmically consistent with Tobin's glitchy, post-jungle M.O., if somewhat exploratory; a couple moments flirt with dubstep but get too twitchy and restless to segue all that comfortably into your typical Burial track, and the broken-down carnival dance-rock of "Always" is just close enough to a genuine crowd-pleasing dancefloor number that it's a bit startling when the inevitable diamond-crushing load of distorted bass comes in. In the end, what makes The Foley Room Tobin's best album in seven years is the way his bent for organized chaos manifests as a deft control of every sound that surrounds him: Anything's a beat, everything's a break, and the difference between sound and music is entirely contextual." [source]

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Download bonus DVD: [Part 1] [Part 2] [Part 3]
Video: DivX 720x480 29.97fps
Audio: MPEG Audio Layer 3 48000Hz stereo 128Kbps

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