Amon Tobin and The Eclectic Method, Rocks Off Boat Tour, New York, NY, 08/29/09

Jesse Borrell on September 30, 2009

Approaching the noisy 41st Street Pier on an overcast Saturday evening, a long line was visible leading up to the gangplank for Rocks Off Boat Tours. Once aboard The Temptress, low ceilings and narrow passageways acted as reminders that the floating venue is like no other in New York.

The United Kingdom’s Eclectic Method beagn its set with an orgy of audio-visual mash-ups presented on large projection screens. Comprised of Geoff Gamlen, Ian Edgar and Jonny Wilson, the trio remixed a vast cross section of media spanning the past century. A Missy Elliot club banger, “How We Do It Over Here,” was synched with scenes from The Breakfast Club while repetitious flashes of cultural icons from Michael Jackson to G.I. Joe made mass media culture look entirely nonsensical at times. Regardless, The Eclectic’s hooks proved infectious.

Just after midnight, Amon Tobin took over – a cloud-enveloped New York City serving as his surrealistic backdrop. The Brazilian-born musician has been known to focus more on flawless sound production during his performances rather than decorating the stage with gaudy set-ups, and this night was no different as he worked from behind his simple rig. After a slow intro, Tobin eased into “One Day In My Garden,” off 1997’s Bricolage.

Sounds of the roaring ‘20s clashed with atypical break beats, as if both flappers and hipsters were sharing the dance floor. A cheerful trumpet melody was gradually drowned out by ominous, engine-like overtones while the audience adjusted to the more buoyant flow of “Slowly.” Their previous manic dancing turned intimate as the ship rounded the Statue of Liberty.

“Verbal” combined acoustic guitar riffs over hip-hop beats which highlighted the styles found in Tobin’s more recent material. Additional samples of cash register cranks and oceanic swishes on the song – sound effects not found on the Out From Out Where version – brought to mind Tobin’s tendency to record each sample himself. This level of forethought and intention portrayed Tobin as an evolving foley artist as the set came to a close.