Promitani NINJA TUNE movies ve WAKATE
Druhy filmovy vecer se ze serie "Lets tune February"
- Amon Tobin "Foley Room: Found Footage"
Genius of noise manipulation and uncompromising musical auteur, Amon Tobin has made, “Foley Room,” his most conceptually satisfying and beautiful album to date. Created using found sounds from tigers roaring to cats eating rats, from wasps to falling chickpeas, kitchen utensils to motorbikes to water dripping from a tap. Added to this were the sounds of musicians like the Kronos Quartet, Stefan Schneider and Sarah Pagé. He then took this wealth of source material and twisted it round into the haunting, muscular music you can hear throughout this remarkable album. Unique and compelling, “Foley Room” is set to stand out even amongst the consistently high quality of Tobin’s other output.
“ There's nothing new about field recordings of course. It's obviously been the traditional source material in sampling since the early days, so I'm really going "back to school" on this one. On the other hand, I always saw a divide between music that was based purely on sound design and tunes that were written to physically move people. A challenge for me has been to try and make 'tunes' using aspects of sound design normally associated with highbrow academic studies in this area. I don't know how successful I've been but that was a goal anyway. ”
—Amon Tobin, in his MySpace blog
- ZEN TV DVD - A Retrospective of Ninja Tune
Since the mid-nineties and the groundbreaking Stealth parties at the Blue Note in Hoxton Square, Ninja has been almost as well respected for its engagement with visuals as it has for its audio. Now at last, the two come together on this massive retrospective of almost a decade of experiment, innovation, humour and weirdness.
Let’s get the spec out of the way first.
The ZenTV DVD has twice the capacity of a normal DVD, containing as it does 35 promo videos from the label, a fifteen minute audiovisual mix and a 30 minutes audio mix from Hexstatic. And as if that wasn’t enough, the DVD has a state-of-the-art menu system which means you can watch the videos either in the order we intended, randomly, or chronologically from the oldest to the newest or the newest to the oldest. You can also look up any specific act and check out their videos and album art. Or just leave a gallery of some of Ninja’s finest covers running in the corner of the room as a kind of ambient art installation dahlink… Mwah.
But that just scratches the surface, really, cos after all, in the kingdom of the blind content is king. Or something like that. You know the music is going to be good (we hope you know the music is going to be good), but what about the visuals?
Well, one advantage with not having hit records (Coldcut’s “Beats & Pieces” remains our one top forty for 12 years work) is that you don’t have to worry about getting your promos shown on daytime MTVor TOTP or any of those hellholes of visual mediocrity where all the bands have to look fabulous and if they don’t, well you better make sure you put some models in there who do… So instead, you can be (whisper it) creative.
Which is why some of the top up-and-coming names in video direction and animation have worked for Ninja in the last few years. Because they know that if they pitch an interesting, visually striking, innovative idea, they will be left to get on with it without interference. Established directors like Alexander Rutterford (Amon Tobin, now working for Radiohead) Sam Arthur (DJ Vadim) as well as young turks like Conkerko (Bonobo). Fizzy Eye made their first music video for Wagon Christ (the truly excellent “Receiver”) and have since gone on to do commercials for Honda, proving that a track record with Ninja doesn’t ruin your business prospects.
Beyond this, artists like Kid Koala and Jaga Jazzist often even commission their own videos, working with close associates to find the perfect match between their sound and the director’s vision. As if that wasn’t enough, there are artists on the label who are intimately involved in the creation of their own videos, whether it’s the Scruff cartoons that make up the basis of his Cosgrove Hall-animated “Sweet Smoke,” the pioneering audiovisual cut-ups of Hexstatic and Coldcut, Funki Porcini’s satires of adverts or his weird, otherworldly concrete moving abstracts.
Overall, since those early audiovisual mash-ups, the driving force behind all of Ninja’s visual work has been that the video is not merely an unrelated promo item to sell a single but should be intimately related to the sounds it represents. The budgets may be small, some results may be more effective than others, but there’s no denying that the attempts to realise this ideal are never less than interesting.