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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or
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Product Description
Review
This is it. After decades of giving us good and even fine work, he's finally treated the faithful to a masterpiece --All Music Guide 4.5/5
All over the place, swinging through dark pop, atmospheric instrumentals, and demented circus music... unique with great personality --7.5/10 Pitchforkmedia.com
As good as anything he has done. The bleak, dysfunctional cityscapes conjured are nightmarish --Sunday Times Culture 4/5
All over the place, swinging through dark pop, atmospheric instrumentals, and demented circus music... unique with great personality --7.5/10 Pitchforkmedia.com
As good as anything he has done. The bleak, dysfunctional cityscapes conjured are nightmarish --Sunday Times Culture 4/5
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Customer Reviews
Most Helpful Customer Reviews
10 of 10 people found the following review helpful
Format:Audio CD
An outstanding "return to form" from Adamson, the king of cinematic and dramatic music. In fact, the phrase "return to form" suggests perhaps he has been dwindling - om the contrary, his past two vocal attempts, As Above So Below and The King of Nothing Hill, have been nothing (hill) short of spectacular! But there's no denying this is his finest work since the 1996 classic collaboratory classic "Oedipus Schmoedipus".
It has been a fair wait for this release and since the news that he had left Mute had filtered through, I thought that maybe this record would not occur - but it did, and my life has been enriched! Seriously, this is Adamson's finest record to date and sonically (and emotionally) it covers all of the bases of his solo career so far (from the mighty Moss Side Story and beyond) with such ease, it makes you wonder how he does it. The cinematic edges are still here, but there is an overall feeling of freedom that also prevails throughout and it resonates beautifully throughout. There is an almost "folk" feel to a number of the tracks, which is an interesting direction for someone such as Adamson to go in, but if you know BA's work, you'll know already that he is a master of whatever genre he wishes to dive into next. Electronica fans also will not be dissapointed with most of this disc, as some of the eclectic sounds are surely digitally sourced.
Furthermore - if "The Long Way Back Again" isn't track of the year in some critics polls, surely I'll eat my hat! Such an incredible song.
Glad to have you back, Barry! Thanks for the signed copy via your website.
It has been a fair wait for this release and since the news that he had left Mute had filtered through, I thought that maybe this record would not occur - but it did, and my life has been enriched! Seriously, this is Adamson's finest record to date and sonically (and emotionally) it covers all of the bases of his solo career so far (from the mighty Moss Side Story and beyond) with such ease, it makes you wonder how he does it. The cinematic edges are still here, but there is an overall feeling of freedom that also prevails throughout and it resonates beautifully throughout. There is an almost "folk" feel to a number of the tracks, which is an interesting direction for someone such as Adamson to go in, but if you know BA's work, you'll know already that he is a master of whatever genre he wishes to dive into next. Electronica fans also will not be dissapointed with most of this disc, as some of the eclectic sounds are surely digitally sourced.
Furthermore - if "The Long Way Back Again" isn't track of the year in some critics polls, surely I'll eat my hat! Such an incredible song.
Glad to have you back, Barry! Thanks for the signed copy via your website.
3 of 3 people found the following review helpful
Format:Audio CD
A satisfying listen after 2002's patchy 'King of Nothing Hill', Adamson's latest touches on all his characteristic themes which probably makes it a good choice for first-timers. He continues to move from the more instrumental early work - the majority of 'Stranger On The Sofa's tracks feature lyrics, and most are sung by Adamson himself. So it's good to see that he's become more comfortable with his singing voice - both 'Theresa Green' and 'The Long Way Back Again', as well as being gorgeous pop songs, feature some of his best vocal performances yet.
Production and arrangements throughout are top-notch, and it's hard not to love an album which follows Anna Chancellor's eerie 'Here In the Hole' with the lovely 'Long Way Back Again'. It's a trick Adamson's used before, lurching from sinister to uplifting without pause for breath - 'You Sold Your Dreams' even manages to be both at the same time.
His sense of humour hasn't gone astray either - especially on the buzzing, swirling 'My Friend The Fly', while on the instrumental side, 'Dissemble' is the standout, a great, propulsive spy/chase scene theme... another of Adamson's trademarks
Production and arrangements throughout are top-notch, and it's hard not to love an album which follows Anna Chancellor's eerie 'Here In the Hole' with the lovely 'Long Way Back Again'. It's a trick Adamson's used before, lurching from sinister to uplifting without pause for breath - 'You Sold Your Dreams' even manages to be both at the same time.
His sense of humour hasn't gone astray either - especially on the buzzing, swirling 'My Friend The Fly', while on the instrumental side, 'Dissemble' is the standout, a great, propulsive spy/chase scene theme... another of Adamson's trademarks
Format:Audio CD|Amazon Verified Purchase
The album bounces along to happy clappy times and the initial problem is his vocals. They neither aspire neither do they descend. They coast along the tunes and provide light froth on top of the surf. They do not croon the baritone of the deep blackness of James Brown nor glitter to the thrall of an Elvis. It sounds like the man from IT to come out of his closet and hit the notes for an X Factor slot. Missing is the cynical realiusm of yore as he pumps the beats.
The music funks to the highest calibre with deep draughts of imagination but he needs to put his vocals to bed and concentrate on his strengths which is his imagination. It is far superior to many of his comtemporaries and needs to be unleashed from standard formats, aiming for that elusive pop hit as mass music has never been as bad.
There are sublime moments on this album when the vocals cease and the music speaks far louder with its lush orchestrations evoking times and spaces beyond the magic mountain.
Then it returns back to the jaunty pop songs angling for that next elusive advertising ring tone. This is not what he should be aiming for. His legacy should stretch for the next thousand years not the cash tills of the next ten minutes
The music funks to the highest calibre with deep draughts of imagination but he needs to put his vocals to bed and concentrate on his strengths which is his imagination. It is far superior to many of his comtemporaries and needs to be unleashed from standard formats, aiming for that elusive pop hit as mass music has never been as bad.
There are sublime moments on this album when the vocals cease and the music speaks far louder with its lush orchestrations evoking times and spaces beyond the magic mountain.
Then it returns back to the jaunty pop songs angling for that next elusive advertising ring tone. This is not what he should be aiming for. His legacy should stretch for the next thousand years not the cash tills of the next ten minutes
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