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Track List
01) Set the Controls for the Heart of the Pelvis
02) Something Wicked This Way Comes
03) The Vibes Ain't Nothin' but the Vibes
04) It's Business as Usual
05) Miles
06) Dirty Barry
07) In a Moment of Clarity
08) Achieved in the Valley of the Dolls
09) Vermillion Kisses
10) The Big Bamboozle
11) State of Contraction
12) The Sweetest Embrace
13) Set the Controls Again
01) Set the Controls for the Heart of the Pelvis
02) Something Wicked This Way Comes
03) The Vibes Ain't Nothin' but the Vibes
04) It's Business as Usual
05) Miles
06) Dirty Barry
07) In a Moment of Clarity
08) Achieved in the Valley of the Dolls
09) Vermillion Kisses
10) The Big Bamboozle
11) State of Contraction
12) The Sweetest Embrace
13) Set the Controls Again
5:39
4:33
4:48
4:29
5:30
7:30
4:14
4:27
3:02
3:37
1:38
4:49
1:34
Data Complete
70%
Total Rating
70%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1996
Rock
Good Natured
Rock/Pop
---
Medium
Album
0 copies
Album Description
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After some releases with more of a beat-heavy pop feel, Adamson moves back -- sort of -- into the land of noirish soundtrack. Unlike Moss Side Story, it's not really a soundtrack with repeated themes and motifs. A lot of pieces establish soundtrack-like moods, but the flow never builds up momentum of its own. As individual soundscapes, though, the tracks (largely instrumental) are reasonably impressive, whether it's burlesque-type fare, a takeoff on Miles Davis, or lounge jazz. If noir is what you want, "It's Business as Usual" is especially creepy, with its neurotic answering machine messages nearly buried under waves of disquieting sounds; achieving a similar effect; in an entirely different manner, is "Vermillion Kisses," a fairytale narrative with a morbid ending. Nick Cave adds a guest vocal to (and co-writes) "The Sweetest Embrace"; Pulp's Jarvis Cocker can be heard (and co-writes) another cut. Adamson's skill in layering and devising unusual sound textures still qualifies him as one of experimental rock's more imaginative composers and producers. But on the more rock-oriented pieces, he's using too many of those damn beat boxes for his own good.
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After some releases with more of a beat-heavy pop feel, Adamson moves back -- sort of -- into the land of noirish soundtrack. Unlike Moss Side Story, it's not really a soundtrack with repeated themes and motifs. A lot of pieces establish soundtrack-like moods, but the flow never builds up momentum of its own. As individual soundscapes, though, the tracks (largely instrumental) are reasonably impressive, whether it's burlesque-type fare, a takeoff on Miles Davis, or lounge jazz. If noir is what you want, "It's Business as Usual" is especially creepy, with its neurotic answering machine messages nearly buried under waves of disquieting sounds; achieving a similar effect; in an entirely different manner, is "Vermillion Kisses," a fairytale narrative with a morbid ending. Nick Cave adds a guest vocal to (and co-writes) "The Sweetest Embrace"; Pulp's Jarvis Cocker can be heard (and co-writes) another cut. Adamson's skill in layering and devising unusual sound textures still qualifies him as one of experimental rock's more imaginative composers and producers. But on the more rock-oriented pieces, he's using too many of those damn beat boxes for his own good.
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None...
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