Oedipus Schmoedipus

Naming the first track on your record “Set Controls for the Heart of the Pelvis” is a statement. Of what, I’m not entirely sure, but it’s cool that he got Austin Powers to do a guest vocal. If you like the electronic lounge-pop of bands like Air and Stereolab, but wish they did it with a less deft touch, Oedipus Schmoedipus’ first few tracks might be for you. Perhaps you prefer Lynchian horror soundscapes, might I direct you to “It’s Business as Usual” or “Dirty Barry”? Coincidentally, “Something Wicked This Way Comes” appears in “Lost Highway” - it took me a minute to figure where I had heard it before. Speaking of David Lynch, the overtly digital jazz on “Miles” could’ve earned a spot in Mulholland Drive, perhaps as the soundtrack for the dance sequence on the soundstage of “The Sylvia North Story”. I’m doing my best with this one, but fuck me, it’s taxing. I mean, I could talk about David Lynch all day, but he’s not the focus here. A few days ago, in a review of Red Snapper’s “Our Aim is to Satisfy”, I bemoaned the list maker’s inclusion of albums from the late 90’s and early aughts that haven’t aged particularly well. Add this record to that pile. Not that this record doesn’t have its moments, but I suspect having a high tolerance for film noir-cheese is a requirement for full enjoyment. If you spend your evenings skulking around dimly lit alleys in a trench coat…boy, have I got an album for you. If you’re still reading this after all my shit-talk, let me recommend 3 records that occupy a similar musical space to Oedipus Schmoedipus, that have held up well and are actually worth hearing before you die. Two of the three, shockingly, are not included on the 1001 albums list: Air - The Virgin Suicides Stereolab - Dots & Loops (possibly the most egregious exclusion from the list) Tortoise - TNT (another glaring omission, imo) Or, you could just watch a David Lynch film or two.

Cool! Then weird.. Then cool! Then scary

What a fun, weird ride. Some great sax work here. Business as Usual was miserable to listen to. The whole project was strange, but at least he was trying something. At least it's not another "Debut album by British pop band" like 500+ of the albums on here.

Nice enough background music. In a list of 1001 albums I must listen to before I die, though? Let's let "background music" be a disqualifier, shall we?

It's like if Tom Waits was mediocre.

Making another soundtrack to an imagined film because nobody will let me make a soundtrack to a real film

Soundtrack for a movie that doesn't exist

A brilliant surreal genre defying album. Part sleazy lounge music, part funk, part jazz - will be back for more

wowwwww!!! I had never heard of this artist, album, or any of these tracks before. This is most definitely an Elaine album. Weird, sometimes MJQ, sometimes frightening. Eclectic. Spotify played Badalamenti’s Dance of the Dream Man (from Twin Peaks) right after. All you really need to know.

Very atmospheric album, some great compositions, and also lots of crazy weird stuff. I enjoy the variety while still maintaining a sort of mysterious vibe throughout.

I was not expecting this on the list. I thought this was an underrated oddity that no one actually listened to aside from anal music geeks. I had assumed that no one really cared about an album from that fella from Magazine that isn't the main fella from Magazine, clearly not. It's the soundtrack to a movie that doesn't exist, featuring Nick Cave, Billy Mackenzie and Jarvis Cocker, and it's every bit as quirky, sleazy and kitsch as the soundtrack to a movie that doesn't exist, featuring Nick Cave, Billy Mackenzie and Jarvis Cocker, should be. If the movie was real, it would for sure be directed by David Lynch. I thoroughly enjoyed revisiting this gem.

Simultaneously groovy, clever, funny, surreal, and odd. Super interesting!

As with Moss Side Story, I loved this. It's amazing, I think. Each track paints such a picture. I'm going to listen to Soul Murder now because I want more Barry Adamson!

What's that cover? Am I listening to black metal today? Oedipus Schmoedipus? This must be weird AF. Maybe weird for the sake of being weird. Oh. Experimental music. I'm excited. I expect to hear some bells and electric drills and shit. A soundtrack to an imaginary movie? I heard something like that before... Was that a Barrett-era Pink Floyd cover? Wow. Wait a minute. It says... pelvis. So it's trip hop but it's actually trippy. A Miles Davis impression? Daring. A bit scary sometimes, ngl. Lol. I've never had an album that constantly surprises me for a while. What an experience. What a treat.

So glad this popped up. Never heard of the guy before, now this album is in my playlists. Brilliant stuff

Haven't you heard, my name rhymes with Elvis

with an name like Oedipus Shmoedipus this album had high standards to live up to and it did it so well. absolutely crazy from start to finish. from truly uncomfortable techno/spoken word to melancholic piano led orchestral arrangements. crazy. so good

very good album - enjoyed it - a hidden gem and want to listen to more.

had to listen to it like 4 times to make up my mind and it got better each time

A brilliant surreal genre defying album. Part sleazy lounge music, part funk, part jazz - will be back for more

Entirely too much moaning. Adamson’s album, styled as a soundtrack to an imaginary movie, works well when it leans into the instrumental aspects of a score. The spy/noir jazz is smooth, deadly, and bombastic, and definitely worth listening to again. However, some of the more experimental tracks are too avant garde for the casual listen, and are deeply creepy and/or sexual. Overall, a tongue-in-cheek, darkly comedic noir soundtrack that lands in some places and misses in disturbing ways. Stand out tracks include “The Vibes Ain’t Nothing But The Vibes”, “In A Moment of Clarity”, “Vermillion Kisses”, “The Big Bamboozle”, and “The Sweetest Embrace”.

Some cool stuff in this album. But mainly instrumental and weird. He is trying to make something different and that he achieved.

Struggling to get through this one. Every time one of these songs starts to develop into something good, he introduces something cheesy and it all comes crashing down. If the idea is to be the soundtrack to an imaginary film, I keep thinking it's a disappointing sequel to The Saint (which to be clear is already a pale imitation). The strongest feeling I get from this is that I'd much rather listen its influences (blaxploitation soundtracks, Madchester/electronica). Calling it a 2, but that's generous.

Hands up who has owned this for nigh-on 30 years? Just me then?! Surprised to see such an obscurity here, still play it quite regularly for the vibes (literally). I really enjoy its "cinematic" style even though this has its detractors in the peanut gallery here; also features one of Nick Cave's finer tunes and the fabulous voice of Billy Mackenzie. Funny how I knew Barry Adamson from this but not Magazine until recently! Hope you all enjoyed it

So ... what is this ?! The album seems to be all over the place in terms of tone and genre. I think it starts on "psychadelic 70's summer of love" then goes to "light goth" with some "trance 80's" and I just can't work out if I like it or not.

Dit doet me aan Air denken. Beetje film-achtige muziek. Heel interessant project. Ik vind de melodietjes soms een beetje lift-muziek maar in combinatie met film-geluiden of een relaxte beat heeft het toch iets speciaals.

Interesting album; some nice Primal Scream esque grooves and abstract storytelling. Favourite song is 'The Sweetest Embrace' sung by Nick Cave.

From the other reviews on here, I was expecting some sort of hellishly unlistenable soundscape, but that wasn't too bad. At least it was trying something. It would have scored higher but one of my least favourite things in music is a horny Jarvis Cocker

Like a lot of others, I’m intrigued at this albums inclusion on the list. Another reviewer made the point that most of these odd picks are late 90’s, early naughties, usually British albums that have not been vindicated by history. I am left wondering whether or not this was nixed from later editions. As music, this is mostly enjoyable. The weirder tracks worked well at telling what little story is discernible and the more regular tracks were mostly fun little cod-Jazz, although I could have done without the version of Miles, the only actual Jazz standard on here, which Adamson has misnamed, intentionally or not, I can’t tell. My biggest problem is with the concept rather than the music. Making a soundtrack to a fake movie is unique, or would be if Adamson hadn’t done it four or five times by this point. But it doesn’t actually sound like any film scores I’ve ever sat down to. It’s supposed to be a Noir I guess, but so much of the songs sound so un-Noir-ish that it took me a couple of tracks to get that concept. Although, I praised the use of weirder tracks to tell the story, thinking specifically about the tracks with narration, I’m not sure they actually work as either music to be listened to independently of the album’s context, or as incidental music for a film. It’d be a little weird to have scenes from a film just pasted over the soundtrack with little rhyme or reason. The only album I can think to compare Oedipus Schmoedipus to is the other late 90’s British mostly instrumental music I’ve had the chance to listen to recently, Fatboy Slim’s Better Living Through Chemistry. And I think the difference is ultimately down to personality. I get more of Norman Cook in his music than I do Barry Adamson. The only thing that we have to base Adamson’s personality on is the concept, which is just a bit weird, and the titles, which are just a bit weird. And I’m not even sure he wrote all of the titles himself, because Set The Controls For The Heart Of The Pelvis is 100% a Jarvis Cocker line. It just doesn’t feel as if Barry Adamson puts much of himself into his music, and for that I’m not sure how I feel about the album as a whole. I’m gonna go 3 stars out of five, because I enjoyed it more than I didn’t, but this is the instance so far that I most wish we could give half rankings, cos this is definitely a 2.5 if ever there was one

Some great jams counterbalanced by some absolutely bat shit ones. Best track: Set The Controls For The Heart Of The Pelvis

Heard some songs from it before. And as somebody who was really into 90s British music when I was a teen I can just TELL that the author of this list must've been a teen/young adult in the 90s in the UK because there's no other explanation for why somebody would think this album a must-listen for everybody around the world. The tracks I like from it I do like, but as a whole it isn't exceptional in any way. 2/5

A concept album I really didn't enjoy. It's really trying to act like it is saying something. Disliked the spoke word stuff (like really, making me listen to a 4 minute 30 second creepy voice message?) Redeemable only by the instrumental tracks.

Self indulgent garbage. Might have been cheaper than therapy.

I respect Adamson - especially for Magazine - and admire the craft in this, and understand how this might work well as a film soundtrack. The words I caught are funny and entertaining; Jarvis Cocker’s opening turn is a grabber. Those elements aside, this left no more impression on me than passing air.

Electronic-avant-garde-jazz fusion? The answer to a question I never would have asked.

Well, once again I have to say, this just isn’t my thing. I’m not sure whose thing this would be, and I am not too sure that I would want to meet them either. I only listened to a minute or two of most of the songs, with the exception of “it’s Business As Usual”. I was intrigued by this disturbing track, and had to see how the voice message ended. For me, the best thing about this album was its title. I’ll be trying to forget about this album.

Strange mix of songs. I'm also mortified that a bass player would try to make a bass sound like it. It sounds like General Midi on Miles(tones). Jarvis, while a national treasure is a creepy man. I don't like him ejaculating out of my headphones.

Banger after banger. It’s a soundtrack to a movie that doesn’t exist… that’s probably my favorite movie.

trange..... definitely felt like occupying someone else's head. Theatrical.

Unique album. Each track dripping with atmosphere, a delightful mishmash of styles. 4.55

Perfect soundtrack to life love the atmosphere the different directions each track takes.

Had to listen to this 4 times before I felt (mostly) ready to give it a rating. I don't think I've ever had this kind of reaction to an album before and I view that as a very positive thing. Sometimes it's dancey proto-acid house, sometimes it's got big-band vibes, other times free jazz, then it just decides to go full exotica. This is the kind of album I'll think about when I can't sleep, pondering it like an unsolvable riddle. I'm not SURE I love it. but it deserves 5 stars just for how long its made me consider things.

Weird and fun

This was so good. Every track was different from every other track in genre/style/sound, but they were all so amazingly good and unexpectedly bizarrely awesome to listen to. I have no idea who Barry Adamson is or what role he played in making this album (instrumentalist? vocalist? arranger? producer?) but I don't really care because it as just good music that I loved to listen to so much that I listened all the way through twice, and I kinda want to go again. Five stars easily.

That's the most enjoyably weird album I've gotten on this list to date.

Very interesting album.

Supremely atmospheric, great cameos.

1996 art rock, bdb

A wild, dark, messy noir film that pulls your attention and feelings with only sound. Really fascinating to make music for a movie that doesn't exist. Love the musical journey Barry has been on, especially that he started all of this as a bassist.

This is a bit of an interesting find in this list - it's weird, but in the same mesmerising way twin peaks is. There's a structure, and it experiments over the established and does it well

Very good. Never heard of this record before

This was a trip. Unexpected!

I spent my entire time listening to this album completely at a loss trying to figure it out. It is very much all over the map. It's in one moment blissful, then funky in the next, then sinister, then depressed, then cheery. At times it feels like there's an unspoken narrative and at time there's a very explicit narrative. But the narratives, said or unsaid, don't seem to match. Is it meant to be a collection of stories or one very winding road telling all the stops of one person's story? I really don't know. I don't know how to put this album into words. All I know is that it is by far one of the most interesting albums I've received on this album generator project. For that I really enjoyed it.

Before we talk about this album we need to talk about movies. David Lynch is probably my all time favorite director, and I just watched Lost Highway for the first time about a month ago. Such a weird and creepy movie, highly recommend if you like weird art films. Something Wicked This Way Comes plays in the scene where the mystery man is first introduced (great scene!). I can see why Lynch likes this album and if I had to guess Lynch's favorite song from this album it would probably be Business As Usual. Ok, now the album. First off, Oedipus Schmoedipus is such a funny title. I think this is the only time I've ever actually laughed at an album title. Not really sure why I am seeing so many 1's and 2's this is just a chill little trip hop album. Never mind some of these songs are not so chill (still very good though). I don't want to be a contrarian, but I did really enjoy this album. It is really weird and it is something you will never forget. I wish this list had more stuff like this album. I am definitely going to need to check this one out again. Low 5.

I am totally diggin’ what this Barry Adamson cat is puttin’ down!

Wowee! Whatever I was missing in Adamson's Moss Side Story, I have found in spades in Oedipus Schmoedipus. A compelling listen from start to finish. Hands down, this is a thumbs up!!

No idea what I was getting into, but Set Controls For the Heart of the Pelvis came out of the gate with such a groove that pegged my ranking needle on a 5. Incredible! Then that familiar Spooky sample opened Something Wicked This Way Comes and I added that to my favorite Halloween songs playlist in the first thirty seconds. Really nice, atmospheric, right up my alley. Barry Adamson was sorely missing from my consciousness. Terrific!!!!

Wow. Front to back I've never been able to feel a story through music as vividly as this album. Set the Controls as the front and ending credits does a great job. Something Wicked feels like a character introduction. It's business as Usual introduces conflict and dirty Barry turns it up a notch. The track is noisy, claustrophobic, sinister, and kinetic. Achieved in the Valley of Dolls is clever and triumphant. Vermillion Kisses is a worthwhile interlude. The big bamboozle is big and boisterous. The Sweetest Embrace is the finale and mourns the ending of the story and the death of innocence. Then the album ends with a well-timed credits track, it doesn't overstay it's welcome and leaves the listener on a positive note. I think that the three songs with lyrics were all excellent. The album gives enough space that it isn't a 50-minute assault. It builds things up and the transitions, like that between the smooth tracks like Miles or a moment of Clarity, feel organic. Rather than a roller coaster with twists and turns, it feels like a lifetime with ups and downs, fasts and slows. This album surprised and impressed me over and over again. I won't be listening to it often, but I will certainly revisit in whole when I want to experience the rich soundscape that it is. As a concept and as it is executed, I believe that it is near perfect.

Very very cool

So groovy. Loved learning the history behind this record and the strange context it came from

I don’t think I’ve ever heard of Barry Adamson before. I’m not entirely sure what to expect of this album. The name Oedipus Schmoedipus makes me a little wary. Oedipus was a bit of an odd fellow, wasn’t he. Songs I already knew: none Favourites: Something Wicked This Way Comes, The Sweetest Embrace This was a really pleasant album. It felt alt-rock at times, and instrumental jazz at others but somehow it works really well. It even has tracks that sound closer to an orchestral soundtrack. The lack of vocals in a lot of the songs really helps the music shine, and the tracks that do include singing can be appreciated all the more for it. This album is so versatile, spanning many genres yet tying together fantastically. This surprised me, and I like it a lot.

This was not my first taste of Adamson, but wow is this one incredible. He mixes so many different styles on this one. There is a DJ Shadow like quality to this, only more in the "art rock" vein. Not his best, but an excellent part of his catalog 9.1/10

A lot of fun listening to this one.

Can't believe I'd never heard of this guy before now. Had to look him up and see more of his works. Saw this came out early 90s. Sorry I missed it then, it would have been a staple of my more drug-addled days.

Great discovery. He also listened to Massive Attack

кино ебаное. буквально. Барри Адамсон рил гений, сделать альбом как фильм это надо уметь. я в целом люблю такую кинематографичную музыку, арт рок или вроде того, под которую закрываешь глаза и музыка визуализируется у тебя в голове. а концепция этих альбомов вообще заключается в том, что это саундтрек к несуществуещему фильму. тут блин в альбоме скримеры есть, саспенс какой то. я реально пару раз шуганулся. очень сильная атмсофера, погружает шо пиздец. ещё и музыка на некоторых треках разрыв ебала. но только как же сложно послушать этот альбом. я не нашёл его ни на одном стриминге, на ютубе он забанен, даже блин в перезаливе в вк, где у него 2 прослушивания (реально 2), и то заблокирован второй трек альбома. но в целом остался прям под впечатлением. короче пизда оценка - 9/10

Fabulous album of potential movie soundtracks, a complete surprise to me as no idea who Barry Adamson was. Now I can't get tracks like Miles out of my head. It's not just the memorability of the tunes, it is their diversity and the imaginative arrangements. Instantly likeable

Eeeeeediupis. Smeeedipus

burner!

Experimental music. Brit oscuro.

Hey, this is surprisingly good. I even knew a couple of the tracks. Also fun to hear Jarvis Cocker.

Kinda all over the place but . . . very much not bad!

This album is terrifying. It's been a long while since we had an album so shocking, disturbing and well... surprising. This album was a mystery, I'd never heard of it before, and after it was finished, I wasn't sure what I had listened to. Some of it I really liked, no questions asked. But, other tracks sounded as if they were hanging on the precipice of madness and horror... and were inviting me in. Taken as a whole, it gave me goosebumps, it was a moving and a wholly unsettling experience. Highly recommend.

That was strange and surreal. From dark to jaunty and upbeat at the drop of a hat. I’ve never heard anything like this. Great album.

Damn, Adamson is a beast. What a strange, yet cohesive album.

Oh this is awesome - one of my fave discoveries from this project so far! Starts off sounding like it's going to be a "Screamadelica"-era Primal Scream knock off, and then gets properly weird, I love it. Proto doom jazz! 💀 Fave track - "The Vibes Ain't Nothin' But The Vibes" and "It's Business As Usual" for being that one two punch that lets you know this album is not what you thought it was. "Dirty Barry" is awesome too. And I love a bit of Nick Cave, so "The Sweetest Embrace" is another highlight....

Way way way better than Moss Side Story, despite this one having now Dave Graney input. Can see a lot of these being perfect soundtrack tunes

Experimental music. Brit oscuro.

very cool

i want this to play in the background of my life 24/7

Emotional rollercoaster. 4 Holy shit this is one unique album. I love it. Though some songs give me that bad 90s film feeling that I also get when seeing that DVD-ad: "You wouldn't download a car", I think it more than makes up for it with eeriness and diversity. "Vermillion Kisses" hit me like a train. 5

10/10 album full of so many different moods, it can be dark and tense or fun and upbeat just such a great work of art overall

1996 - Genre: Alternative/Indie (jazz, beat, hip-hop)

I read on Google that this album was "conceived as a soundtrack to an imaginary film" and I totally thought it sounded like a movie soundtrack. Some of it was very soundtrack sounding and about half of it was almost jazz music.

actually pretty sweet

Liked it more with the sampling, trip-hoppy stuff but less so when it leaned into jazz territory, but definitely interested in hearing more

## In-Depth Review: Barry Adamson’s *Oedipus Schmoedipus* Barry Adamson’s 1996 album *Oedipus Schmoedipus* stands as a singular work in the landscape of 1990s art rock and cinematic soundscapes. Crafted as a “soundtrack to an imaginary film,” the album fuses noir, jazz, soul, funk, and electronic elements into a suite of tracks that are both atmospheric and narrative-driven[1][2][3]. Below is a comprehensive review focusing on lyrics, music, production, themes, and influence, concluding with a balanced assessment of its strengths and weaknesses. --- ## **Lyrics** Adamson’s lyrics on *Oedipus Schmoedipus* are sparse but evocative, often serving as narrative fragments that complement the album’s cinematic intent. The record features notable guest lyricists and vocalists: Jarvis Cocker (Pulp) on “Set the Controls for the Heart of the Pelvis,” Nick Cave on “The Sweetest Embrace,” and Billy Mackenzie on “Achieved in the Valley of Dolls”[1][3][2]. Each brings their own lyrical sensibility: - **“Set the Controls for the Heart of the Pelvis”**: Jarvis Cocker’s contribution is witty, louche, and laden with innuendo, matching the sleazy, noirish tone of the music[3][1]. - **“The Sweetest Embrace”**: Nick Cave’s lyrics are typically dark and romantic, evoking longing and existential dread, adding gravitas to the album’s emotional core[1][4]. - **“Achieved in the Valley of Dolls”**: Billy Mackenzie’s performance is haunting, his lyrics alluding to faded glamour and lost innocence[1][2]. Elsewhere, Adamson’s own lyrics (when present) are often delivered with a knowing, amused drawl, evoking the seedy glamour of noir cinema and the existential musings of classic detective fiction[3][1]. However, many tracks are instrumental or use vocals more as another instrument than as a narrative device, reinforcing the album’s filmic quality. --- ## **Music** Musically, *Oedipus Schmoedipus* is a rich tapestry that draws from a wide palette: - **Genres and Influences**: The album blends art rock, jazz, soul, funk, lounge, and electronic music, with clear nods to film composers like John Barry, Ennio Morricone, and Bernard Herrmann[5][1][3]. There are also echoes of Miles Davis (notably on “Miles”), 1960s French pop, and big-band arrangements[1][2]. - **Instrumentation**: Adamson employs vibes, saxophones, lush strings, organ grooves, and electronic textures, creating soundscapes that are both lush and unsettling[3][1][2]. The use of finger-snapping rhythms, burlesque motifs, and jazz phrasings gives the album a sense of playful sleaze and sophisticated menace. - **Notable Tracks**: - “Set the Controls for the Heart of the Pelvis” – Funky, danceable, and tongue-in-cheek, with a memorable Cocker vocal[3][1]. - “The Vibes Ain’t Nothin’ But the Vibes” – Sleazy jazz with a smoky, late-night feel[3]. - “Something Wicked This Way Comes” – Features Massive Attack samples and was used in David Lynch’s *Lost Highway*, underscoring its cinematic appeal[1][2]. - “It’s Business as Usual” – Creepy, noirish, with disquieting sound effects and buried messages[4][6]. - “Miles” – A digital jazz homage that interpolates Miles Davis’ “Milestones”[2]. - “The Big Bamboozle” – John Barry/James Bond-inspired, energetic and brassy[3]. The album’s sequencing is intentionally cinematic, with each track acting as a scene or vignette. While some reviewers note that the flow doesn’t always build sustained momentum, the individual tracks are consistently inventive and immersive[4][6]. --- ## **Production** Adamson produced the album himself, showcasing his skill in layering and devising unusual sound textures[1]. The production is lush and detailed, with a keen ear for atmosphere: - **Sound Design**: Heavy phasing, spatial effects, and meticulous mixing create an otherworldly, immersive soundstage[7]. The album often feels like a fever dream or a walk through a neon-lit city at midnight. - **Guest Contributions**: The integration of guest vocalists is seamless, each adding a distinct flavor without overshadowing Adamson’s vision[1][3]. - **Cinematic Quality**: The production simulates the feel of a film soundtrack, with recurring motifs, dramatic shifts, and a sense of narrative progression[5][1][2]. Critics have praised Adamson’s imagination and technical prowess, calling him one of experimental rock’s most inventive composers and producers[1]. --- ## **Themes** *Oedipus Schmoedipus* is thematically rich, drawing on: - **Noir and Sleaze**: The album revels in the aesthetics of noir cinema—urban decay, moral ambiguity, and seductive danger[3][1]. The sleazy, jazz-infused backstreet haunts conjure images of trench-coated detectives and femme fatales. - **Psychoanalysis and Pop Culture**: The title references Freud’s Oedipus complex and Harry Nilsson’s *Nilsson Schmilsson*, signaling an interest in both psychological depth and pop pastiche[2]. - **Existential Angst and Desire**: Many tracks explore themes of longing, loss, and the search for meaning in a chaotic world, often with a darkly humorous twist[3][1]. - **Cinematic Storytelling**: The album’s structure mimics that of a film, with each track serving as a scene or chapter in an imaginary narrative[5][1][2]. The result is a work that is both accessible and deeply layered, inviting repeated listens and close analysis. --- ## **Influence** *Oedipus Schmoedipus* occupies a unique place in 1990s music: - **Cinematic Pop**: The album helped pioneer a strand of cinematic pop and electronic lounge music that would later be explored by artists like Air and Stereolab[6]. - **Soundtrack Work**: Adamson’s approach influenced both his own later soundtrack work and the broader use of filmic techniques in popular music[5][1]. - **Cult Status**: The album has achieved cult status, particularly among fans of noir, experimental pop, and soundtrack music[2][3]. While it may not have matched the sustained excitement of Adamson’s earlier *Moss Side Story*, it stands as a defining statement of his style and vision[5]. --- ## **Pros and Cons** | Pros | Cons | |------|------| | Inventive, cinematic production that creates a vivid atmosphere[1][2] | Some tracks feel like pastiche or genre exercises rather than fully realized songs[6][4] | | Eclectic blend of genres—jazz, funk, soul, electronic, art rock[3][1] | Album flow can be uneven; lacks the narrative cohesion of a true soundtrack[4] | | Strong guest contributions from Jarvis Cocker, Nick Cave, Billy Mackenzie[1][3] | Some may find the noir/sleaze aesthetic overbearing or dated[6] | | Rich, layered arrangements reward close listening[1][2] | Not all tracks have aged equally well; some sound “of their time”[6] | | Memorable tracks like “Set the Controls...”, “Something Wicked...”, “The Sweetest Embrace”[3][1][2] | Lyrics are often secondary to atmosphere, which may disappoint lyric-focused listeners[1] | | Essential for fans of cinematic and experimental pop[2][3] | May not appeal to those seeking straightforward rock or pop songwriting[6] | --- ## **Conclusion** *Oedipus Schmoedipus* is a masterclass in cinematic music-making, blending noir, jazz, soul, and electronic textures into a suite of tracks that evoke imaginary films and shadowy cityscapes. Adamson’s skill as a composer, arranger, and producer is on full display, and the album’s guest vocalists add depth and variety to its sound world. While its aesthetic may not appeal to everyone—and some tracks feel more like genre exercises than fully developed songs—the album remains a landmark of art rock and cinematic pop. For listeners willing to immerse themselves in its sleazy, noirish universe, *Oedipus Schmoedipus* offers a rich and rewarding experience.

Interesting stuff

I am shocked by how cool this album is! Very experimental, but also funky? Some of the tracks come off straight up disturbing. Having finished this album, I loved it! Very funky, very weird, very experimental. I can't believe I'd never heard this guy before.

Pretty accessible for avant-garde music. I enjoyed it.

There's way too much Nick Cave representation on this list. He just won't go away for someone I find pretty mediocre or just not to my liking. This was good though. Weird and different.

Funny reading the reviews, not sure many read the concept of the album being a pseudo soundtrack, a really interesting mix, many great tracks and perfect for film, ⭐⭐⭐⭐

This was a difficult listen at first; the spoken word stuff makes it hard to get into. But I’m a fan of anachronistic film noir jazz, and as the album goes on the different weird experimental tracks interact and integrate with the central theme. Highlights for me were the seven minute long dub piece ('Dirty Barry') and tracks 9 through 12. Especially Nick Cave’s voice.

It’s kooky and kind of spooky, but worth a spin!

very funky and groovy and a little creepy I definitely vibe with this

Eclectic, dark, chill, unique.

Probably the most interesting discovery on the list so far for me. Id never heard of this. I liked the acid jazz and almost trip hop vibe. A couple of the tracks were dark and eerie and kind of disjointed the album a bit but still interesting. A cameo from Nick Cave was also a nice surprise. This is a movie I wanna watch, going by this "soundtrack" 7.5/10

Should listen to more

Am curious about this album! Some very weird sounds coming at the end of STCHTHOTP. "Something Wicked This Way Comes" - doesn't the student choir sing this song in Harry Potter? Okay, maybe not, there were no words in SWTWC. Yeah, the other reviews weren't kidding, this is a movie soundtrack..to a movie that doesn't exist. I love movie scores! Loving the weirdness of this music. Big fan of Dirty Barry.

Having Oedipus Schmoedipus appear shortly after reviewing Nilsson Schmilsson is something of a coincidence. An almost equally unlikely reoccurrence, is the fact that Barry Adamson has not only one, but two fictional Noir soundtrack albums on the list. It makes me want to be way harsher on this one, as it's the second one for me, but in reality I think I prefer Oedipus Schmoedipus to Moss Side Story. 'Something Wicked This Way Comes' is great, as is the Nick Cave feature and the overall Lynchian Noir atmosphere.