Brazilian-born Amon Tobin first emerged between 1994-1995 with a string of 12” singles on a small London-based record label called 9Bar Records. The album that followed, Adventures In Foam, paved the way for a whole generation of electronic productions and prompted his signing to the prodigious Ninja Tune in 1996. He has since gone on to record seven critically- acclaimed albums under his own name on Ninja that have since helped define the label as a force in musical innovation and diversity. In addition, Amon has produced a small number of radically diverse original scores ranging from George Palfi’s cult cinema oddity Taxidermia to Tom Clancy’s video game blockbuster Splinter Cell: Chaos Theory.

The depth and scope of Amon Tobin’s work have had a far-reaching influence, garnering respect amongst producers and artists both within and outside electronic music. Whether with the classical avant garde Kronos Quartet or D’n’B legends Noisia, or on his own in some invented form, Amon has established a reputation for musical ingenuity that is unconfined by genre. Over a fifteen-year-long career Amon Tobin remains among one of the most visionary electronic artists of a generation.

The 2007 album Foley Room explored the role of found sound in modern day music. Documented on film, the process of recording minute insects to lions, wolves, engines and foley performances culminated in a much- lauded performance at the birthplace of musique concrete, the GRM Theatre in Paris. More recently, the famed London Metropolitan Orchestra performed selected works from a cross-section of his musical repertoire at the Royal Albert Hall. The performance included a piece from his forthcoming studio album due for release in early 2011.

2011sees the release of a radical new studio album entitled ISAM, a new Two Fingers album, and an album of remixes of his Chaos Theory soundtrack work.

“Amon Tobin creates aural treasures each time he touches studio equipment. He breathes vitality into a stagnant genre with each drum hit. He rejuvenates the pallid genre of electronica every time he permits the world to glance through the twisted digital window of his music.” Pitchfork

“the manifold deity of digital polyrhythms, descended upon this wretched corporeal shell of a world to illuminate the path to enlightenment through sonic perfection.” Pitchfork

“Fiendishly dense and darkly evocative” The Guardian

“…his subtle genius places him forever one step ahead of the listener and several light years in front of his contemporaries.” Uncut

“… not quite like anything else you’ve heard.” The Independent On Sunday

“…no one does menace like Brazillian beat adventurer Amon Tobin.” Q

“…curious, seductive beauty…” NME

“Some kind of rhythmic alchemist… Tobin is nothing short of a production genius and a true guru.” DJ

“Melodic Sorcery.” Knowledge

“Unmistakably Tobin. Gorgeous.” The Observer

“Amon tobin was one of the reasons I signed to ninja back in the day He’s incepted from the drum n bass scene but became so much more.. And was a link to me between sampling / synths / spookyness / straight party. He always looked out for me and showed support before the rest!” Diplo

“How does that cat do it?! keep pushing his sounds further out… i love his shit” Flying Lotus

“Amon is truly unique, one of the all time brightest stars in the electronic world.” Mike Patton

“Since 1998 ive known that Amon Tobin can make sounds from the inside of a fax machine into some of the heaviest beats on earth.”

The Gaslamp Killer

“Amon’s sense of orchestration is superb. Like Duke Ellington, Gil Evans, and Maurice Ravel before him his palette is wide and refreshing. I love that his musical vision is unbounded and is expanding at a faster rate than the rest of the universe. The music of Amon Tobin makes me feel more alive.” David Harrington (Kronos Quartet)

“Amon tobin’s music is a constant inspiration and has been a major influence on us.” Thijs (Noisia)