Amon Tobin is currently in the midst of his ISAM 2.0 US Tour and we highly suggest you check him out in a city near you. The Brazilian musician, composer, and producer of electronic drum and bass music is a virtuoso sound designer who has a revolutionary live visual performance that is getting a rapturous response worldwide.
Amon’s tour ISAM 2.0 uses ground-breaking audio-synchronized computer graphics that are projected onto a massive, 3-D set. These graphics are visually stunning and have left a massive imprint on live A/V shows for years to come. There really is no visual show that compares to ISAM’s 3-D Cube pyramid. This pyramid features countless animations, color schemes, and HD projections that make Tobin’s act a massive optical illusion that transforms the performance space into a hyperreal dimension. A dimension that is seemingly constantly changing shape, form, and texture. It really is mind-blowing.
The visuals are a manifestation on the parameters of physics thanks to contributions from C Squared Labs and Leviathan. These two software designers used projection mapping and numerous visual effects that respond to live input and audio cues that spring the cubes of the pyramid to life in unthinkable patterns, lights, and arrays of visual madness. Combining his powerful bass and throttling visual effects, Amon Tobin’s show seems to asphyxiate the crowd leaving them in an awe-inspiring trance.
Watch this video here for a behind the scenes of the making of the ISAM 2.0 show:
The transportational quality of the visual show makes it unlike other electronic music events because it seems to put the complex musical production at second tier, but Tobin’s audio show should not be ignored. His ISAM album released by his label, Ninja Tune offers heavy, synthesized, and multi-sampled instruments that are sonically satisfying with transportational qualities of their own. But expect his current tour to feature a lot of his material from his soon-to-be-released album “Two Fingers”.
In his own words Tobin said:
“My music is a byproduct of curiosity of what happens when you put two things that don’t belong together,” he continues. “That was the basis for the record, trying to synthesize sounds and controlling them to some degree but also letting them have a life of their own that’s determined by the math.”