Adamson took three selections off 1993's Oedipus Schmoedipus in various spots, including its hit single "Set the Controls for the Heart of the Pelvis," a string-laden, psychedelic, gospelized fingerpopper co-written with and featuring Jarvis Cocker. "007, A Fantasy Bond Theme," from 1992's Soul Murder, combines fat swinging brass, West Indies-patois narration, skanking reggae and ska rhythms, and razor-wire surf guitars, woven through a warped take on the original Bond theme. While the closing cut from his widely acclaimed 1989 debut Moss Side Story - a jagged cover of Elmer Bernstein's title theme for The Man with the Golden Arm - opens this set it's followed by the Atticus Ross-produced "Jazz Devil" from 1998's As Above, So Below with its swinging B-3 and horns accompanying Adamson's humorous Beat and lounge lizard narrative. The tunes are sequenced aesthetically, creating a seamless - though jarring - listening session. Noir cinema has always been a muse its inspiration is the thread that ties this music together. Of these 17 tracks, all but two are culled from his solo catalog: Magazine's "Parade" and Nick Cave & the Bad Seeds' "From Her to Eternity." Adamson is a pioneer in the "imaginary soundtracks" genre. Memento Mori looks back on his 40-year career that, while astonishingly consistent, has branched off in several musical directions. Along the way, he's released nine studio albums as well as singles and EPs. Adamson has also directed films, including the acclaimed 40-minute feature film noir Therapist. He's written and arranged for Nitzer Ebb, Ethyl Meatplow, Scott Walker, and Simple Minds, to name a few, and has contributed music to soundtracks like Derek Jarman's The Last of England, David Lynch's Lost Highway, Allison Anders' Gas Food Lodging, and Oliver Stone's Natural Born Killers. He played on synth pop albums by Visage and Pete Shelley. He was an integral member of Magazine and the founding incarnation of Nick Cave & the Bad Seeds. If the post-punk era produced a renaissance man, it's Barry Adamson.
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