Splinter Cell : Chaos Theory. Amon Tobin

Splinter Cell: Chaos Theory is a dark and cruel game in which American and Japanese statesmen ally themselves, in order to counter a Sino-Korean coalition whose cyber hackers would be able to jeopardize the world economy. You meet heroic spies, dubious politicians and unscrupulous mercenaries, the goal of the game being to eradicate enemies by all means. We imagine the worst, we take part in it, in a tense atmosphere of conspiracy, underground war and international tension. This is to say if we are bathed in a festive atmosphere…

Amon Tobin, who has dreamed of film music for years, has made this commission a true masterpiece. He creates with the mastery that we know him tense, disturbing, dark or frightening beaches, whose oppressive swing of Permutation (1998) already offered a foretaste. He takes the opportunity above all to decline nervous atmospheres, chisel his melodic lines and trace out contours of a fascinating clarity to his creations. He infinitely varies the sparkles of his frames, energizes his sentences with unexpected digital inlays. He surpasses himself. His music exudes unbridled inspiration. She fires. And although it contrasts with its previous opus, both in terms of tone and sound, it fits perfectly in their lineage. Tobin just pushes his creative approach even further, completes it, refines it or refines it. This new music is a kind of concentrate, an essence of his prodigious know-how. chisel his melodic lines and trace outlines of fascinating clarity to his creations. He infinitely varies the scintillations of his frames, energizes his sentences with unexpected digital inlays. 

He surpasses himself. His music exudes unbridled inspiration. It fires. And although it contrasts with its previous opus, both in terms of tone and sound, it fits perfectly in their lineage. Tobin just pushes his creative approach even further, completes it, refines it or refines it. This new music is a kind of concentrate, an essence of his prodigious know-how. chisel his melodic lines and trace outlines of fascinating clarity to his creations. He infinitely varies the sparkles of his frames, energizes his sentences with unexpected digital inlays. He surpasses himself. His music exudes unbridled inspiration. She fires. And although it contrasts with its previous opus, both in terms of tone and sound, it fits perfectly in their lineage. Tobin just pushes his creative approach even further, completes it, refines it or refines it. This new music is a kind of concentrate, an essence of his prodigious know-how. And although it contrasts with its previous opus, both in terms of tone and sound, it fits perfectly in their lineage. Tobin just pushes his creative approach even further, completes it, refines it or refines it. This new music is a kind of concentrate, an essence of his prodigious know-how. And although it contrasts with its previous opus, both in terms of tone and sound, it fits perfectly in their lineage. Tobin just pushes his creative approach even further, completes it, refines it or refines it. This new music is a kind of concentrate, an essence of his prodigious know-how.

From his first album Adventures in Foam (1997), signed at the time under the nickname “Cujo”, Amon Tobin accustomed us to acoustic sounds, skillfully blended into breakbeat, trip-hop, drum’n’bass or hardcore. They appeared here and there, like reminiscences in a futuristic universe. Conversely, in this new album, he sets up acoustic primacy as a real system of composition. Electronics are hardly used any more than as processing, and the raw material comes mainly from the sounds of strings, drums, basses, brass or vocals, which, of course, pass through the prism of his table. mixing. Sampled, looped, compressed, filtered, these sounds are treated with care by the electronics, and ultimately it does not matter whether the original material is or not. 

Amon Tobin, who has never been an aesthetic fundamentalist, has always fired on everything, and his claimed freedom allows him to use what he wants without complexes. This unique relaxation, pushed here like an exclamation, gives him the air of a disrespectful poet. This is where his music draws its strength, grace and modernity.


Splinter Cell : Chaos Theory est un jeu sombre et cruel dans lequel des hommes d’état américains et japonais s’allient, afin de contrer une coalition sino-coréenne dont les cyberpirates seraient capables de mettre en péril l’économie mondiale. On y croise des espions héroïques, des politiciens douteux et des mercenaires sans scrupules, le but du jeu étant d’éradiquer les ennemis par tous les moyens. On imagine le pire, on y participe, dans une atmosphère tendue de complot, de guerre souterraine et de crispation internationale. C’est dire si on baigne dans une ambiance de fête…

Amon Tobin, qui rêve de musique de film depuis des années, a fait de cette commande un véritable chef d’œuvre. Il y crée avec la maestria qu’on lui connaît des plages tendues, inquiétantes, sombres ou effrayantes, dont le swing oppressant de Permutation (1998) offrait déjà un avant-goût. Il en profite surtout pour décliner des ambiances nerveuses, ciseler ses lignes mélodiques et tracer des contours d’une netteté fascinante à ses créations. Il varie à l’infini les scintillements de ses trames, dynamise ses phrases par des incrustations digitales inattendues. Il se surpasse. Sa musique respire l’inspiration débridée. Elle fuse. Et bien qu’elle contraste avec ses opus précédents, tant en matière de ton que de son, elle s’inscrit parfaitement dans leur lignée. Tobin pousse juste encore plus loin sa démarche créatrice, la complète, la précise ou l’épure. Cette musique nouvelle est une sorte de concentré, une essence de son savoir-faire prodigieux.

Dès son premier opus Adventures in Foam (1997), signé à l’époque sous le pseudo « Cujo », Amon Tobin nous a habitués à des sonorités acoustiques, habilement fondues dans une électronique breakbeat, trip-hop, drum’n’bass ou hardcore. Elles apparaissaient ça et là, comme des réminiscences dans un univers futuriste. À l’inverse, dans ce nouvel album, il érige la primauté acoustique en véritable système de composition. L’électronique n’est quasiment plus utilisée qu’en tant que traitement, et la matière première provient principalement de sons de cordes, de batteries, de basses, de cuivres ou de voix, qui, bien sûr, passent au prisme de sa table de mixage. Échantillonnées, bouclées, compressées, filtrées, ces sonorités sont traitées avec soin par l’électronique, et peu importe finalement que la matière originelle le soit ou non. Amon Tobin, qui n’a jamais été un intégriste esthétique, a toujours fait feu de tout bois, et sa liberté revendiquée l’autorise à se servir de ce que bon lui semble sans complexes. Cette décontraction unique et poussée ici comme une exclamation lui donne des allures de poète irrespectueux. C’est là que sa musique puise sa force, sa grâce et sa modernité.

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