Reviews (page 4 of 8)
This album is all over the place. In a good way. I’m not sure if the “fake movie soundtrack” concept holds up but- it’s fun. THREE STARS
Weird, in a good, unique way. Pretty fun listen.
Review shreview. Oedipus does something interesting in the category of albums that sound like they're taken from movie, but they're not - it focuses more on reactions, vibe of the crowd, and the music is a bit muted. Initially, I took it as too much self-absorbance, now it feels a bit better to me.
Pretty unique and interesting album. Standout songs: The vibes aint nothin but the vibes Business as usual The Sweetest embrace
Good for working
What even is this? This is so all over the place. Is it Jazz? Is it Swing? Is it Trip Hop? I have no idea but it’s weird in a good way. I was so intrigued and engrossed listening to this album. It was like modern Leonard Cohen. I will definitely recommend and listen to this again.
got moss side story few months ago, and now again with this imaginary soundtrack bullshit? really? i can only hope one would not mention him anymore while i am alive, or dead.
Very impressive and creative album. Just not maybe something id listen to again
What in the world did I just listen to??????
"Oedipus Schmoedipus" presents more like a collage than a true album -- some good, theatrical moments mixed with less inspiring muzak meant a somewhat disappointing listen.
Interesting one here. A soundtrack for a film that doesn’t exist. Don’t think I’d ever go back to it though.
Never heard of Barry Adamson or Oedipus Shmoedipus. Zero clue what to expect. Liking "something wicked this way comes" This album is very odd but very cool. "it's business as usual" is definitely something. Gosh this is a strange album. I swear "achieved in the valley of dolls" even seems to have used a Nokia ringtone in it! It's like a mix of 90's and 70's/60's. Can't say I dislike it, though! It's definitely something unique and interesting. "Vermilion Kisses" definitely gave me a giggle
Henchman was way better than the Big Bad. I actually liked a lot of this. It started off so strong, with major major dips at “It’s Business as Usual” and “Dirty Barry” as well as “The Sweetest Embrace,” the other track I believe ol’ Nicky featured on. I liked that “Miles” was a sendup to Davis, I think Barry and I like similar music aside from his boss. Really those first two tracks got me into it.
Tough to grade. The trip-hop type tracks are pretty enjoyable and engaging. The other artsy-fartsy high brow stuff is very much not enjoyable. A 3 is most fair, but it didn’t garner a relisten, which means a 2 on my scale.
It's not bad but nothing special
Surprised that I liked this as much as I did, nothing groundbreaking as an album but I def loved the vibe of the album and the drums were awesome. Pretty mystical.
This is such an interesting album; it has great influences and instrumentation in Something Wicked This Way Comes and Miles. However, the rest of the album kind of falls short. I'm not too much of a fan of the Leonard Cohen influence or the experimental vocal elements like in Vermillion Kisses. Not really my thing.
Cool concept, impossible to listen to. Liked some of the trumpet songs tho.
felt very film like
Nice music to fall asleep to.
Fastest 1 I’ve given
Never heard of him but actually pretty good
It was fine. I’d put this on as background music at my next cocktail party
Not bad, not great, but not bad
this shit blows chunks.
I’m not sure what to make of this. At first it sounded like Gainsbourg-esque spoken word riffing on the subconscious over nice musical textures. Then it took a left turn. And another left turn. And another. This is maybe the most postmodern album I’ve come across. For something so extreme, it seems only fitting to give it a mundane rating. Glad I came here, don’t think I’ll return.
I had never heard of Barry Adamson before. I thought this album was going to be akin to Spinal Tap or Tenacious D just based on a few of the track names. Within a few minutes I was pleasantly surprised. The tracks spanned several genres and had influences from some of my favorite artists. The production mixed with the weirdness evokes a surreal feeling that I often strangely associate with good music.
Not spooky enough. Too 90s. Barry Schmarry.
I prefer my movie scores with the movie. Some interesting sounds and enjoyable moments but I cant think of many times I would want to listen to this album. No favourite track. 6/10
Oh my! In Business as usual he seemed like a stalker, but then Miles was upbeat, so bipolar. I can't say that I liked it, but I liked certain songs.
This record seems filled with angst. Oftentimes leaving me at the corner of "what was that?" And "what could possibly be next?" A bit too slow and moody for me. 1 outta 5
You know that scene in It’s Always Sunny in Philadelphia where they’re doing an induction ceremony for Schmitty and they play that Gregorian chant that breaks into a dance beat and they start swaying from side to side and grinning? The first 20 seconds of this album felt exactly like that and unfortunately it never recovered.
A couple songs were good.
strange but not bad. just different. 3*
Seems to have all the right ingredients for the kind of upbeat mid-90s indie-dance thing it is aiming for - funky 60s samples, strings, choirs, hammond organs, random pieces of newsreel dialogue, Jarvis Cocker... - but somehow comes across as totally lacking in charm, personality or any sense of cool. Lots of soul samples, not a lot of soul. Compared to it's numerous peers in this field, it's all a bit uninspired and flat.
This album lives in its own world. There’s no way to predict what’s coming next. There’s dance rock, jazz, ambient, and what sometimes feels like film score. Most of the vocals are snippets of spoken word. They feel like overheard conversations, or maybe samples from field recordings captured out in society. (Also, there’s a twisted fairy tale near the end too. That’s a surprise.) Fascinating album. It’s all over the place but somehow feels like a cohesive experience.
"Oedipus Schmoedipus" is one of the funnier album names I've ever heard hahahah. I really didn't expect this record to go in the direction that it did. I was expecting some chill music after hearing the first few tracks but as I got to "Miles" i was really starting to think that there's more depth to this album. I enjoyed it as I listened, but I don't know if more depth really made it "better" in my opinion. The music was pretty good but didn't really stick with me a day after hearing it. I think it's probably a byproduct of the overall sound being a little bit all over the place. I'll have to give another listen but for now it's a middle 3/5.
Enfermizo 0/5
This was an odd one. I get that this was supposed to be a movie soundtrack but it felt like at least 3 different movies. "Something Wicked This Way Comes" was about the only song I somewhat enjoyed here. Great album title though.
Very weird record, very Lynch-like (he actually used a track from this). It's a bit overlong, and it's point of interest is how off-putting and disturbing it can be (in like a non-traditional horror kinda way). They can also be pretty groovy, too, not bad at all in terms of instrumental and groove. Don't know if I'll listen to it again but it's definitely an experience.
Very interesting
Rock, div. Stilrichtungen, 1996 -> 2-3
New to me, and a fascinating and pleasant surprise. This, for me, is why I do this.
If I had to sum up this album, I’d call it a trip hop jazz noir soundtrack to a movie that doesn’t exist. The one thing that remains consistent throughout is its cinematic nature. It fully embraces the feel of a soundtrack, but without the visuals. Some parts reminded me of 90s trip hop and the funky big beat movement from the 90s era electronic scene. Other moments lean into quiet, spoken word segments, evoking imagery of a jazz band playing in the corner of a dark, smoke filled lounge, slowly building toward dramatic, big band style climaxes. It’s a really cool album, and I liked it a lot, but I will say it starts to feel a bit long toward the end, almost like it’s dragging. Still, it’s a cool listening experience and one of the more unique albums I’ve heard recently.
Es como un soundtrack experimental para una película que no existe, pero asumo que es algo a lo James Bond. Incluye hasta el track instrumental genérico para los créditos al final. Lo escuché en 3 tandas, lo que puede haber arruinado la experiencia. Bakan tu volaa, creo que escucho una inspiración para muchas otras bandas que me gustan (Portishead, tal vez Stereolab); pero no lo escucharía de nuevo.
a delightful jumble of ideas and stylistic jumps
Increíble. Un discazo que nos demuestra que la música experimental no está peleada con las melodías atractivas, el jazz melancólico y hasta el blues más llegador. Tiene canciones rarísimas pero que siempre se sienten hipnotizantes. Los metales son una locura, la voz de Adamson es única y tiene arreglos que se siente que podrían volverme loco. Vaya, trae por ahí hasta un cuento de hadas.
jarvis cocker & billy mackenzie & nick cave is an insane combo and i love it
Well this was an album to listen to. I liked the ambience it gave off but most tracks were just rambling and disported beats. It definitely is unique that I can say for sure. No idea what the album was supposed to be about but I didn't hate it as the other reviewers on this website. Art is supposed to comfort the disturbed and disturb the comforted so I guess by going with that mantra, this album is pretty ok. I will give it a 3.
This album is really hit or miss for me. On the one hand i love how surreal and straight up weird it is, but on the other hand some of these songs are just whatever
Weird. Blase background music. Not sure what needed to be heard on this.
This is pretty awesome. I did not like his other record that was presented ted to me here but this one is really great.
This felt more like an OST than a regular album with instrumental songs and slow songs with a voice just talking. After listening I went back here and looked and according to Wikipedia that is what the artist had in mind when he made it. Some really nice songs with great feeling to them but not something to listen to every day. Like most OST albums to me.
All over the place sylistically. Jazzy, rock, experimental, pop, and more. A lot of talking over the music. Sometimes upbeat, sometimes dark and disturbing, all the things in between. A fair amount of strange and/or random sounding noises here and there. This is definitely an unusual and unique album. It's the kind of thing I don't think I'd put onto listen to, but it's an interesting experience to go through it. Maybe I'm all wrong and it gets better with more listens?
Set the Controls for the Heart of the Pelvis 3 Something Wicked This Way Comes 2.8 The Vibes Ain't Nothin' but the Vibes 3 It's Business as Usual 2.3 Miles 3 Dirty Barry 2 In a Moment of Clarity 2.7 Achieved in the Valley of Dolls 2.5 Vermillion Kisses 3.4 The Big Bamboozle 3 State of Contraction 3 The Sweetest Embrace 3.2 Set the Controls Again 3 Score: 2.838461538
I didn’t know “fake movie soundtracks” was even a thing until I started this project. Now I’ve had a few. Strange.
It's okay. The album kicks off strong, with a cinematic flair that grabs your attention early on. The opening couple of tracks set a moody, noir-ish tone that’s intriguing and well-produced. Jarvis Cocker’s cameo on Set the Controls for the Heart of the Pelvis adds a playful, sleazy charm, while Nick Cave’s unmistakable voice on The Sweetest Embrace brings a brooding intensity that’s hard to ignore. Beyond those highlights, though, the rest of the album feels more like a mixed bag. There’s atmosphere, sure, but not always enough substance to keep you hooked. It’s the kind of record that’s interesting in parts, but not essential as a whole.
I really feel like I did not *get* this. It was ok, but if it’s supposed to be a soundtrack for a movie (that doesn’t exist, which is rather pretentious), I could not make any mental image of this film. It didn’t deliver in the regards for me
This was an odd album. If i would have listened to the album without reading about it, i would have guessed it to be a Jazz album and not an art-rock one. Didn’t hate it especially but didn’t love it either so it’s a 3.
This was a nice reminder of the benefits of listening to music from this generator - it was something different and very enjoyable. Jazzy, big band, slow, fast, atmospheric, dark, light. Listening to this album felt like watching a movie or TV series as each song brought about a new scene, conflict, and vibe. I would listen to more Adamson.
Interesting
It’s incredibly rare that I don’t listen to all of an album. I can only think of one other that I’ve skipped a few tracks on. But I didn’t get close to finishing this. It just really bored me. I listened to the first 25 minutes or so but had nothing good to say about it. Skipped a couple of tracks after 30 seconds or so and then decided that I just didn’t want to listen to this. Much preferred Moss Side Story that I scored a 3. I’m sure that if I listened to this enough that it might be a bit less boring. But I really couldn’t get on with it at all. Oh, shit title as well that absolutely doesn’t do what he thinks it does.
not my thing 1/5
Does this guy only create soundtracks to imaginary films? I vaguely remember "Moss Side Story" earlier in this list. Don't get me wrong, it's an interesting concept, but usually falls flat if you are missing context (which is the case here as well). There are some neat jazz moments, but the rest comes off as cheesy. I'm not sure who's willingly listening to this thing from start to finish.
An interesting mix of chill and chilling. A couple of the tracks could be in horror movies or something, much of the rest is basically downtempo music, a little jazz thrown in. An interesting listen, but a bit all over the place.
Call me Neeman and throw a chair at my head because this album gave me whiplash. How do I rate an album that has some great chilled out beats while also having songs specifically made to trigger a panic attack?
Wat kut
Some interesting tracks. Enjoyed the overall mood. Very of its time.
Best Song: The Sweetest Embrace I didn't like this. Listening to this reminds me of doing work outside in the yard on a hot Summer day but, for whatever reason, you are unable to shower after and have to sit with the dried sweat covering your body. You feel icky. That's how this album made me feel. 1/5.
Really odd that this was the first album recommended to me; I watched Lost Highway for the first time recently. The chances of this album being recommended when all I provided here was my username and preferred genres. I feel spooked yet seen. I would listen to it again and probably will, when I’m in the mood for something David Lynch-y
Interesting music but I can’t say that I would want to watch this movie if this was an actual soundtrack
Good sound, but too long as it got boring quick.
01) Set the Controls for the Heart of the Pelvis - 7,5 02) Something Wicked This Way Comes - 8,0 03) The Vibes Ain't Nothin' but the Vibes - 7,0 04) It's Business as Usual - 4,0 05) Miles - 6,0 06) Dirty Barry - 4,5 07) In a Moment of Clarity - 5,0 08) Achieved in the Valley of Dolls - 7,0 09) Vermillion Kisses - 1,0 10) The Big Bamboozle - 7,0 11) State of Contraction - 6,0 12) The Sweetest Embrace - 7,5 13) Set the Controls Again - 6,0 TOTAL: 5,88 (59/100) Current ranking: 540/663
A lot of weird stuff, some interesting stuff. Just nothing I would listen to on my own. 2/5
A solo album from bad seeds member. Very dark and ominous sounding but not really that interesting honestly 6/10 Favourite: Something Wicked This Way Comes Least Favourite: Vermillion Kisses
I'm glad this is a movie I'm never going to have to watch
Enjoyed it…even though I have no way of defining what type or genre of music this is
great album for a Scooter ride LAX to LACMA
Nope.
Ew
I really liked this one … every track unique in its own way and Uncle Nick popping in on The Sweetest Embrace was lovely ☺️
At first, I was disappointed in its kind of lackluster sound. I do think it won me over a bit by the end. That one spoken word about the maiden was pretty funny and I thought a few tracks here were actually really great. Its main issue is its genre-leaping. It's hard to feel invested in the sound when at any moment it breaks its own cohesion song to song.
I could not stand this. It was just noise and I stopped after 2 songs
First 2 songs were 4 star
Although his two albums on the list are similar in tone and feel, I felt that there was significant development form the previous album, "Moss Side Story". But if that's the case, why have that first one on here? You wasted a space for something more interesting by having this and the other one on it. I gave the previous one a 2, but I liked this one better. There was more of a soundtrack feel, which was what he was going for. So I am giving it a 3. Top tracks: "The Big Bamboozle", "The Sweetest Embrace," "The Vibes Ain't Nothing But The Vibes"
I didn't recognize who Barry Adamson was but when I looked him up - he was Magazine's bassist - I was excited. I might've vaguely recognized the name Magazine before this 1,001 list but listening to their entry was cool. This was not cool. At first I was thinking what is this Primal Scream meets Pulp stuff?, then realized it was just Jarvis Cocker providing guest vocals on the first song. Really, it's more like his Nick Cave and the Bad Seeds work, which means strange and macabre. But sooo boring except maybe for Something Wicked This Way Comes, Miles (a Miles Davis remake), and The Sweetest Embrace (Nick Cave provides guest vocals). I understand he was trying to write a soundtrack for a non-existent film. But still, so boring. I kept looking at the clock as so many songs dragged along. I skipped through a couple.
wtf? Why does this dude have two albums in the 1001?? Like *really* two albums, not "one of these was removed and the other is a replacement." Is he friends with Robert Dimery? I just don't get it. There were a few good moments, but also some really weird moments. It wasn't awful, but I absolutely did not need to hear this (or his other album on the 1001) before I died. Tracks that I liked: Set the Controls for the Heart of the Pelvis (awful name, good bop, a little weird),The Vibes Ain't Nothing but the Vibes, The Big Bamboozle, The Sweetest Embrace (Nick Cave makes it good).
This was an interesting listen and reminded me of artists like Groove Armada, Fatboy Slim, and Moby . I liked it.
A couple tracks that would be good to have as background sound when working creative, but the rest is a bunch of random experimental nonsense.
Kind of a contemporary jazz album? Enjoyable listen. Apparently conceived as a concept album for a film. Notable songs include Set The Controls For The Heart of the Pelvis, Something Wicked This Way Comes, The Vibes Ain’t Nothing But The Vibes, Miles, The Big Bamboozle, The Sweetest Embrace.
Awful
Really interesting collection, kind of random songs, put together for musics sake and thought, kind of like abstract art. Worth at least listen. Engaging partly but not groovy
swanky noir jazz to have a mysterious journey to
I wasn't familiar with Barry Adamson or his background, and for some reason based on the name and album cover I was expecting some sort of weird chamber music, so this was an unexpected delight. It starts off strong with the first two tracks, and thereafter it's both varied and coherent. I would totally watch the imaginary movie this soundtracks.
Weird, scary/noir experiment here. Half of it is cool. Half of it is boring.
Not gonna lie, I liked this one. This is surprising given my last experience with ol' Barry was his autistic little movie soundtrack that unimpressed me, but I think the noir sound works a lot better in this instalment - and having your music in a Lynch movie certainly helps.
An interesting listen, some songs I couldn't for to be over, but it wasn't all that bad. Some good ones in the mix.
An art rock album that I actually kind of liked?! This album improved as it progressed, and the tracks without vocals were the highlights.
This was a great album from start to finish minus The Sweetest Embrace
I enjoyed this. A bit hard to clarify with different tracks having very different styles, but well done and enjoyable. Solid 4 that deserves a relisten.
interesting...
The second - and second-best - album on this list so far to have this kind of title schmitle. The crazy thing about this Barry Adamson guy is he knows his way around a tune, there are some great things happening here, some really nicely done atmospherics and interesting instrumentation. But he decides he wants to keep throwing us off with bizarre lyrical choices, outright weird ideas and once again pretending he's making the soundtrack to a film, which he's not. It's particularly odd that he features multiple times and this is very similar to the other of his albums in the list. If we really needed to hear a Barry Adamson album before we all die, I can assure you that we did not need to hear yet another one too, that leans on many of the same ideas.
Sounds like drugs.
Started off good but got a little too weird. Would consider giving it another run though when I can focus better
This album had some ups and downs. I liked a lot of the beginning and then it got kind of weird. Mixed reviews
I hadn't heard of this artist before, but I really enjoyed this album. I can see adding this to my collection.
Today I learned that the bassist in Magazine went on to have a solo career where he released soundtracks to non-existent films. His third album, Oedipus Schmoedipus, had some My Life in the Bush of Ghosts vibes and could go in a Music to Listen to While Working or Studying playlist.
second "album made as a soundtrack to a movie" in a row (vanishing point by primal scream was yesterday), and you know what? here for it. more albums like this please. more bed time stories about borderline personality disorder maiden please. highlights - something wicked this way comes, the vibes ain't nothing but the vibes, achieved in the valley of the dolls
Eerie soundtrack for a movie that doesn’t exist! I wasn’t expecting this actually and really enjoyed it. It’s nothing groundbreaking though, and because of the soundtrack aspect, among the fact that it’s just not anything novel, it ends up being mostly in the background. But sometimes you need background noise and not music that consumes every inch of your consciousness. This would have totally been on in the background while I was studying when I was in uni, maybe I’ll put it in the back while I work sometime because I totally see myself coming back occasionally. I don’t know if this is an album you MUST hear before you die but I’m quite satisfied that I got to discover it.
I see the vision but I don't think I would ever listen to this again
Стильний альбом. Велике різноманіття всього, іноді прям до враження, що слухаєш пісні від різних артистів. Я розумію чому є наративні шматки, але без них я б альбому поставив би чесні 5.
Оце класна дуже штука! Тут вам і Лінч і Нік Кейв, все різноманітно й цікаво. До свого сорому не слухав сольне Баррі Адамсона, можна подякувати цьому списку що трохи відкрив мені очі.
A bizarre listening experience, and one I probably would have never found without this project. I want to like it a bit more, but some of the tracks just didn’t do it for me. Conversely, some of the songs were great, and when the vibes were right, it was an absolutely fantastic experience. I would considering going back to try and bookmark some of my favorites, but I don’t know that this whole album needs another listen.
I do not like this!
At times, this felt like this could have been the radio station / soundtrack to an earlier Grand Theft Auto game…before they started using real songs. Then it got weird and turned into more of a film score for a low budget 70’s sci-fi flick. I bailed half way.
This shit is out there....some weird ass some stuff, but some killer grooves too. Would probably listen again but I'm in no real hurry.
It feels like an experiment and I'm not down for that
Aptly named as this is a mother fucking tragedy calling some of the tracks music.
It's fine, but I don't see how this is a must listen 90s album.
This album did not pass the vibe test initially based on the cover and name but by golly, it was a good one.
The 1001 list is all about albums not songs, and this is a fully constructed album, albeit one without purpose. I'm here for all this weirdness.
I liked the beginning of this but once "It's Business as Usual" came up I started really not enjoying it. Some of the songs felt too creepy and others just too sexual.
Some moments (like Miles) are truely enjoyable, but repetetive sound collages and spoken words section are too much for me. This album has like 10 minutes of enjoyable music for me and the rest feels like too long intros and outros.
Really enjoyed that 90s sleaze. Had no idea this guy was in Magazine and Nick Cave's band. I thought Jarvis and Nick Cave's cameos were really good. A couple songs were hard to get through but for the most part I enjoyed the flow of the whole album and thought it felt shorter than its runtime Rating: 4.0
Bounced around from being not great to awkward to cool and around and around it goes. Probably the most uncomfortable ive been listening to an slbum before
There really is some pretentious crap out there. Don’t know what more I’d expect from a Manc. Given it an extra star because Jarvis Cocker sang on first track
I remembered this guy from another album on the list, same schtick of making a soundtrack for a nonexistent movie, and I liked this one a tad more. Maybe it was more cohesive or I was in a better headspace to list…… NICK CAVE AGAIN??? YOU RAT FUCKS (2.5/5)
I'm not entirely sure what this was, but I did enjoy it. That's partly because it was different from the slew of pop, rock, and pop-rock albums I've been getting, and also because it was fun to listen to. The album took you on a strange yet interesting journey from start to finish. The whole is greater than the sum of the parts, as I'm not sure how it would work if just listening to certain tracks on their own. It seems to embody the point of this list in that it's something I probably never would've heard otherwise and showed me something new as a result. That doesn't necessarily mean it's an all-time great album, but that's OK. I'm still glad I listened to it. Overall: 3.5/5
An exciting and wildly genre-shifting album where Barry Adamson blends jazz, noir, funk, and cinematic soundscapes into a richly atmospheric whole. The moods shift from sensual and laid-back to intense and dramatic, as if it were the soundtrack to a film constantly changing scenes and plot. Guest appearances from Jarvis Cocker and Nick Cave add extra depth and color. The album feels both playful and meticulously crafted, a work that draws the listener into its own unique universe. 5/5
weird and kind of scary but I like that Jarvis cocker was there
really good but not re-listenable
Was interesting listening. A bit much on the talking behind the music.
Od
Got progressively weirder as it went
Is an album supposed to make you feel uncomfortable? Sure, if it's meant to be intentional - and seeing as this album was supposed to be for a hypothetical David Lynch movie, I can kind of relate. Problem is that if you only have the soundtrack without the movie, it doesn't have the same effect that, say, the soundtrack of a blockbuster would have. Even if it was a brilliant movie, at most I'd say the music was 'meh'.
Not something I would put on during a drive or on a saturday afternoon. I keep wondering what kind of movie this was supposed to be the track for. It has 70's psychedelic blues, noir themes, an urban fantasy skit of a princess with borderline... Very strange indeed.
This is certainly a unique album! I had no clue what I was in for with this and it sent me on a journey. I love this kind of weird experimental stuff. Is it great music? Not always. But this straddles that line. It's pretty wild "It's Business As Usual" was almost viscerally horrifying. The creepy recording going right into the jazzy lounge-piano track "Miles" and beyond was hilarious. Lots of cool ambient tracks. Jazzier in general than I thought it would be at the beginning. Standouts were "The Vibes Ain't Nothin' But The Vibes" "It's Business As Usual" and "The Big Bamboozle" Overall, cool album. Would I listen to it again? Probably not really. But it was an interesting different listen. 3/5
Oddly satisfying
I want to call this one underwhelming, but I honestly had no clue who this artist was so I don’t think that’s a fair critique. I did enjoy “Miles”, thought maybe the album was turning around but the only other song that stood out for me was “The Big Bamboozle”. 2 stars, for those two songs I suppose.
It's fine, well, actually, it's too long and there are only a couple of good songs here. I enjoyed, "Miles" and "The Big Bamboozle" a lot. The rest were typical movie song throwaways. Nothing that you'd remember after a few days. I prefer David Holmes for this particular movie music micro genre. At least he's funky.
Gives me Nick Cave and the bad seeds vibes... was ok not great.
Weird..
This was not bad. I was even playing it with the family in the car and they didn’t complain. Cool stuff I’d call it alternative jazz. Very 90s sampling stuff. Glad I listened.
Adamson Schmadamson. Who cares?
pretty tiresome
10/10…psychedelic trip hop after 5 times of listening the rating goes up from 7/10 at 10/10… take your time to listen.
Ok, not bad
Wasn't really a fan of this one. It started off ok, but got annoying by Dirty Barry. The end got a little better, but not enough to make me not regret listening to this. 2/5
This album is super varied. It is often good stuff and sometimes not. I really like the feel of it with the narration and the loud raucous numbers.
Sound good for the most part my the concept looses me a bit. Hard to rate.
Interesting album. I had to read the Wikipedia article to understand what it's about. And from a musical point of view, very nice and diversified. Good!
This album gives me so much anxiety.
"She announced: "I've just seen my therapist, who's convinced I have a borderline personality disorder with narcissistic traits, which means I'll be unhappy all my life as nobody will be able to measure up to the fantastically high standards that I just can't help but impose on them."" Listened to B4? No Tracks Already Saved on Spotify: None Standout Tracks: Set the Controls for the Heart of the Pelvis, The Vibes Ain't Nothin' But the Vibes, Something Wicked This Way Comes Pretentious to a fault. Most of the record sounds like Adamson is trying way too hard. (51/100)
Interesting enough album. It had themes of horror at times that I really was intrigued by. It got a tad theatrical for my liking at times. I’m ok with dry vocal delivery but sometimes Barry’s just talking and I don’t think that makes for good music. I can definitely see how him and Nick Cave got along creatively. I found this release super interesting but I’m never gonna listen again bc I kinda hated it too. 3 stars
kaffihúsa, kvikmyndatónlist. frekar gott en ekki viss með framhaldið. gef samt 3,5 af því ég er póser.
Well, as a start, I feel deeply uncomfortable with Jarvis Cockers breathy vocals in the first track 🤮 Feels pretty non-descriptive and unaccomplished. Writing a soundtrack to an imaginary film because no-one will actually let you do it for real. Nothing too impressive or engaging. Not sure how often I’d listen to a film soundtrack in its own right anyway, but either way this is poor, disjointed and boring. This might be my first 1 star :-/ Yeh, this made me angry. A mismatch of genres, done very badly and with no purpose. Just a personally self-indulgent project that makes little sense. Pretty tragic.
Another 90s album that felt like it was pushing into the future at the time but now sounds utterly 90s. The beats are the main culprit. I don't mind that really but it isn't quite as good as I remember it. Also I retrospectively find Nick Cave a bit annoying sometimes. I think he gets aways with nonsense lyrics sometimes to the point of people proclaiming him a great poet because of how he delivers them in such sonorous way. How's getting brutally chucked The Sweetest Embrace, Nick? Explain it, c'mon.
Banger after banger after banger, washing over my brain like a cool breeze on a hot day.
Another album where at no point did I know what would come next. The elevator music was alright but then they’d go in to a monologue about a therapist followed by haunted house music. Who listens to this? What was this made for?! I realized half way through that I was listening to this on shuffle. I understand as a soundtrack to a made up film, the order was probably important. However, I don't think it would have made a difference. It was just weird, and I didn't want to have to sit and listen to all the songs all over again.
4.3 Stars Never heard of this album before today. Pleasantly surprised! Jazzy and funny. David Bowie vibes (Set the Controls for the Heart of the Pelvis). Best: "Set the Controls for the Heart of the Pelvis" Reggie Watts vibes sometimes. Spooky sample in "Something Wicked Comes This Way" Pretty much whole album has Halloween vibes. Trippy Don't really get "Business As Usual", little crazy. Album doesn't end as strong as it begins.
This album is fucking crazy, like a whole soundtrack for a made up film, that's just so amazing. It honestly sounds like it'd be a great film too--it's not shocking that a song on here ended up in a David Lynch film, because this sounds like it'd a score a movie that he directed. This album runs the gamut in terms of feelings--from comical to sexy to thrilling, all with a sinister air that really hooked me in and made me want to know what would happen next. The sound reminded me a lot of a favorite album of mine, Music to Make Love to Your Old Lady By by Lovage, and I always thought that the each of the songs on that album sounded like the soundtracks to a bunch of short films. I deeply appreciate creatively ambitious works like this, and it really hit for me. A definite 5/5.
I quit during track 4. If all of the album was like track 2 then it would be a 5 star, and it would be an album that I listen to all the time. Alas, I'll probably never know because track 4 was so horrible that I had to stop. (didn't like the first one either)
a discovery! very twin peaksy
Bro what the hell?? I think this is awful cause it’s kinda scary but this is also what is so fascinating about it in my opinion. I’ve never heard something like this it’s like a completely different way to approach music compared to anything I’ve heard before. You’re being forced to feel so many emotions throughout this album whether you like it or not. Which to me is art. However I wasn’t sure how to rate this album because it’s so interesting but also nothing that I will go back to very soon (maybe never) because of how unsettling it was. I think it very much deserves to be on this list because this wasn’t just “hey I’m listening to this album hehe haha” it was a whole experience that was made here. But in the end I didn’t actually enjoy this.
Eclectic for sure, but it’s nothing I would want to go back and listen to again.
This guy has a history with Nick Cave so listening to the album came with a bit of trepidation as to what I might get. Turns out my fears were unfounded as it's an interesting opus that I might actually listen to again sometime.
Ugh, deliberate unsettling noise isn't pleasant to listen to.
Quite enjoyed this record. Really horny lyrics and intonations I must say 😅. Amazing sax solos and I'm always a fan of that. Almost has the feel of a good spy/robbery movie soundtrack (James Bond meets Oceans 11) 6,5/10 fav songs : The Big Bamboozle & Set the Controls for the Heart to the Pelvis
Wow, I was surprised. I was expecting something like Harry Nilsson. This is like jazzy Eno or good Devoto, which I love. But too many low points for me.
The imaginary film seems like it would have been interesting. I liked the variety of instruments, especially the xylophone sounding keyboards. I probably won't listen again, but I didn't mind the experience.
At first I didn't like it, but then I ended up listening in my car on the way to work instead of on my earbuds. This album needs to be listened to on a good sound system with subwoofer capabilities. Then, just skip Business as Usual, Dirty Barry, Vermillion Kiss, and perhaps Set the Controls. Then you've got a really nice modern jazz album with some occasional James Bond soundtrack elements. Those tracks to skip make it difficult to give a high rating, but I'm going to go ahead with one because I've really been enjoying the rest of the album for several days of commuting.
What a strange album. Thought I was listening to part of a Forensic Files episode on "It's Business As Usual"...
I was familiar Adamson’s work from the Lost Highway soundtrack but never dug into his work before. So stoked this album was suggested. This dude does whatever the fu*k he wants and I’m here for it. Great record.
At first I was gonna describe it as the perfect soundtrack for a normal day but listening to the following songs made me feel like I was living in a toxic relationship with good and bad days. :)
7/10
Weird but it grew on me
barry adamsonin art rock on kivaa
Just, no. I can't even finish this. It's an instrumental with heavy creepy notes and strange vibes. I could see it as background music for movies but nothing else.
I’ll have to give this another spin in the morning. It sounds like the kind of record I’d actually like to sit down and listen to free of distractions
Didn’t we do this already? Boring
Cheesy ersatz soundtrack music, vibing on the then-fashionable trip-hop style. Cool at its best (Set the Controls, Something Wicked This Way Comes), aimless in middle (Dirty Barry), just pointless jazz-lite noodling at worst (Miles, The Vibes Ain't Nothin' But The Vibes). The closer to "jazz styling" that this album gets, the more unlistenable it becomes, especially that horrible drum programming. The cheesy synth tones don't help either. Interesting appearance by Atticus Ross, programming the first 6 tracks. You can hear his attention to texture that he later took to his soundtrack collaborations with Trent Reznor. Nick Cave's cameo stands out as the rare example of an actual song with charisma and presence.
My first thought when I opened this up was are you kidding me with that album title? And then I refused to listen to it for its assigned day. But when I ended up listening, I was pleasantly surprised. Except for the creepy songs, didn’t like those.
Couldn’t finish it. I was excited with the idea of a soundtrack for a made up movie, but it was really uninteresting to me and the first track laid out the concept and really turned me off to it.
This album is its own mood. Enjoyable yet forgettable background music.
Very 90s cool. Interesting mix of sampling, live instrumentation, synthesizers. A little bit jammy, a little bit slinky, a little bit jazzy.
3.5 what can i say i'm weird, i'm a weirdo
Just wasn’t digging it
Good stuff
Very odd. I loved bits of it, like "Vermillion Kisses" and "Sweetest Embrace". Almost all of it was decent, but the very jazzy tracks just aren't for me.
Something Wicked This Way Comes was instantly recognisable as a bedding track used constantly in the late 90's, one of those tracks which comes on and you think "this is the reason this album was included on the list". But I've just realised that this is the second album by Barry Adamson on this list after Moss Side Story! Is this man really so influential or great to deserve this honour? As I see from Wikipedia that this album was also conceived as "as a soundtrack to an imaginary film" like Moss Side Story, could the choice really not have been narrowed down? Overall, I slightly prefer Moss Side Story over this. The best track I heard was actually Mr. Eddy's Theme from Lost Highway which autoplayed after this before I realised.
Odd but has its moments. You got me with Nick Cave in the second half...
This feels like outtakes and demos that Beck would use as background to actual songs with lyrics. Adamson's talent is undeniable. He is creative and innovative, but this feels more like a sample of musical ideas than songs. The ideas are good and worth exploring, but I don't know how often I'd sit down to listen to them.
Really enjoyed it. Pleasant surprise!
A soundtrack to a non existent movie is novel. Lounge room / noir vibes. Set The Controls For The Heart of the Pelvis is potentially one of my favourite songs titles ever. And then this album got sinister on Its Business As Usual, is super unsettling. Vermilion Kisses felt self important. Unsure where I stand on this one
**C+** Some songs have a discernible groove, most do not. I prefer the skits to the songs, and I don’t like the skits all that much.
Solid background music
This album is wild. It's all over the place. From jazz/lounge music to rock to someone narrating a hilarious short story (Vermillion Kisses). When listening to the album, The Sweetest Embrace came on and I immediately recognized Nick Cave's voice as the singer. Overall, really solid album. At first, I didn't think I would like it, but it is just fucked up enough to be interesting. Usually these albums that are "soundtracks for movies that don't exist" kinda lose something, but this is great. Also...with a first song on the album being called "Set the Controls for the Heart of the Pelvis", how can you go wrong, lol. Talk about setting a tone for the rest of the album, lol Favorite songs: The Sweetest Embrace, Something Wicked This Way Comes, Set the Controls for the Heart of the Pelvis, The Big Bamboozle, Miles, In a Moment of Clarity, Vermillion Kisses Least favorite songs: It's Business as Usual, Dirty Barry 4/5
4.5
Blind album and artist. Definitely some freaky weird and interesting parts and instrumentals. Soundtrack to an unmade film? Sounds like it.
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
Ooooh the mumbling and lines are from the movie that doesn't exist! I couldn't do it. It is the first one in a long time I couldn't finish
Ihan kivat kellopelit välillä. Muuten en löydä tästä kipinää, miten tämä perustelis itsensä muiden matalalla äänellä puhelaulavien ukkojen joukossa (Valley of dollsissa oli ehkä yritystä)
Kuinka uhkarohkeaa. Ei artistin toivomasta syystä. Nick Caven ilmaantuminen kuvioihin tuntuu helpottavalta.
I'm pretty sure I listened to another Barry Adamson soundtrack album for a movie that doesn't exist a few hundred albums ago. I think one is enough for this list.
6/18/25. Really don’t know what to make of this. Some good tracks on here, but also a lot of filler. Will likely require a few repeat listens but my initial listen was just okay.
Баррі Адамсон завжди був тим, хто попри очевидний талант, завжди залишався трохи за лаштунками. Він грав у Magazine, Buzzcocks, та навіть був частиною Nick Cave & the Bad Seeds. Але паралельно, також будував свій "власний світ" - нуарний, театральний та трохи іронічний, який постав у всій красі на Oedipus Schmoedipus. Цей альбом одразу показав, що Адамсон не просто акомпанує іншим, а здатен і на власну візію. Тут він органічно поєднує джаз, електронні текстури, фанкові ритми та оркестрові аранжування. Окрім цього альбом відмітився дуже гарними камео - трек Set The Controls For The Heart Of The Pelvis отримав дотепний голос Джарвіса Кокера, лідера Pulp, Achieved In The Valley Of Dolls з Біллі Маккензі, фронтменом шотландського гурту The Associates, додає драматизму, а The Sweetest Embrace з Ніком Кейвом, фронтменом Nick Cave & the Bad Seeds, відкриває більш інтимну та емоційну сторону альбому. Більш камерні треки на кшталт The Vibes Ain’t Nothing But The Vibes чи In A Moment Of Clarity передають нічне місто, The Big Bamboozle, звучить немов відлуння шпигунських саундтреків 60-х, а Something Wicked This Way Comes навіть потрапила до фільму Девіда Лінча Lost Highway, підкреслюючи атмосферу містичної напруги. Oedipus Schmoedipus показав Адамсона вже не як "тінь" у чиїхось проектах, а як автора "цілісного нуарного сценарію" з гумором та мелодраматизмом.
Ah, this dude was on the Lost Highway soundtrack. That was a great album. I like the trip hop vibe on Something Wicked This Way Comes. This is a sufficiently weird album, and I like it. Miles and Dirty Barry were my favorites. 3.
Varied, uneven, weird, interesting.
Interesting but I'm not too into it
Liked it more with the sampling, trip-hoppy stuff but less so when it leaned into jazz territory, but definitely interested in hearing more
Some of these songs were quite nice, but some were just way too weird.
3/5
Some very interesting, cool moments. Also, some extremely tacky and cheesy moments. All around not bad and I enjoyed the jazz and electronic elements. 3/5
## 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.
It's like it's aspiring to be something, but doesn't know how. There's no real substance here, cattywampus musings from a composer.
I remember a previous album on this list that was a soundtrack for an imaginary film and thought I wouldn't hear anything like that again. Incredibly, Barry Adamson has another entry on this list, so the soundtracks continue. It's got a weird, creepy vibe that is quite effective and does let your imagination run wild with images to fit the music. Maybe someone will make a movie built around the soundtrack (if it hasn't been done already), would be really interesting. As a stand-alone music piece, it's kinda cool and would definitely be a mood-maker for a party or funeral. I'll have to check out other projects from Adamson, I'm intrigued.
Banger after banger. It’s a soundtrack to a movie that doesn’t exist… that’s probably my favorite movie.
I’m glad others enjoyed the chaotic nature of the album, but to me it ends up being a few interesting ideas thrown together into an incoherent mess.
This one was all over the map. The opening track had me intrigued, but multiple songs using voice recordings wasted the potential for this one
🎧Goddamn there are so many great albums from 90s absent from Dimery’s list, but included are weirdo snoozefests like Oedipus Schmoedipus. We get it Barry, you’re a kinky freak with a penchant for loungey rhythms and Harry Nilsson nods. I did not need to hear this pre-death.
Interesting stuff
1. heart - 1.5 2. uuicked - 2.5 3. vibez - 2.5 4. buzinezz -1 5. milez - 1.5 6. dirty - 1.5 7. moment - 2.5 8. dollz - 1.5 9. kizzez - 1.5 10. big - 1 11. ztate - 1.5 12. embrace - 2 13. controlz - 1
Cool, evocative, but not super fun or anything
This was unusual, then unsettling, then disturbing, and then kinda fun. I'm not sure I needed to listen to it in this lifetime, but I'm not that upset about it either. Actually, yeah, I'm glad I listened. It's no Tortoise, but it was good to have heard.
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.
2- Stars (4/15)
Pretty accessible for avant-garde music. I enjoyed it.
trange..... definitely felt like occupying someone else's head. Theatrical.
Pretty cool album. “Set..” is pretty funky and interesting. “Business” is made me tense, it’s kinda creepy, which is also cool. “The Big Bamboozle” is a jammin song, love those horns. Overall other than “Vermillion Kisses” and “Dirty Barry”, this is a really good album. 1002 album worthy: Yes - 89/162
Unexpected
Hmmmm vanskelig. Litt irriterande, men også kult at Billy Mackenzie e med
What a weird bunch of bollocks.
High High's but LOW lows. Don't really sure what I'm hearing at times
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.
Like Nick Cave but somehow worse?
OTT
Conceived as a soundtrack to an imaginary film indeed! I admire the diversity of genres and sounds, but it all ends up a little ambient, except for Something Wicked. The Vibes is a great ambient jazz... uh... vibe, but again, not so special. I could have died without hearing this and been OK.
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, ⭐⭐⭐⭐
Is it jazz? Is it experimental? Is it psychedelic scare rock? Not sure on this one
Very mixed bag but overall wasn't for me.
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.
This is an odd one! Some songs are pleasant, some are abrasive. I think I'm rating this more for the ideas (which I really like) rather than the music (which I find just okay). It's likely a 2/2.5 for me... but I just remembered Jarvis Cocker makes sex noises on the first track so I'll bump it up to a three. 👀
Killer album title but overall a bit strong for my taste. Reaching for that 11 every time.
It’s kooky and kind of spooky, but worth a spin!
Some good points, like Something Wicked This Way Comes and Miles, but this list does not need two "soundtracks for films that don't exist" by Barry Adamson. "Vermillion Kisses" is one of the most irritating interludes I've ever heard, even worse than skits in rap/hip hop albums that are just sex noises. Speaking of sex noises, Jarvis Cocker's moaning sets a tone which is immediately abandoned, as each song takes a left turn from the previous one. You could say the album is varied, but really it's all over the place.
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.
It’s like one song is interesting, then suddenly super weird, then another good one plays, followed by one that’s an absolute skip
# Album Name: Oedipus Schmoedipus # Artist: Barry Adamson # Rating: 1/5 # Comments: This album should have stayed an imagination in someones head. I have nfi what this is doing on the list. Absolute joke. # Top Tunes: None # Would I listen to it again? No
I didn't enjoy this as much and "Moss Side Story". I liked the more traditional jazz tracks more than the ambient noir this time around. The ambient tracks are still great, I think I liked the blend of Moss Side better
I have no idea what I just listened to lol
Um... what?
very funky and groovy and a little creepy I definitely vibe with this
Interesting concept. may get round to giving this another whirl. Didn't hate it.
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
6/10 - Some of these songs were pretty nice and relaxing and some of the songs are really creepy especially it’s business as usual. Vermillion kisses was strange but it used the word ejaculated to describe someone talking and it was not something I’ve heard in a while. I think if there was less singing I would like it more but not because the singing was bad.
Overall not great, had some weird and unpleasant shit, but there were parts that I liked. Mostly just faded into the background though
Sure. Immediately dissapointed by the dated funk of the first song with the cringe Right Said Fred vocals. The music on this record is generally fine, but way to kitschy too be enjoyable. Stereotypical elevator/mall-ass music in Miles. Some decent jazz (In a Moment of Clarity) that I'd enjoy a lot more if it weren't surrounded by all this cheese. Cheesy spy music around too, with The Big Bamboozle. Probably my favorite song is The Sweetest Embrace. Which makes sense, being the song with Nick Cave on it. Probably the most accessible, "standard" song on the record? Overall, just think this album is too silly. And I don't necessarily have a problem with that, it's just whenever you make music like this, it's very liable to age quickly. And this album is no exception. It might be good music, but hearing some of these songs out of the context of an Adam West Batman or 60's James Bond film (for example) isn't going to do this type of music favors.
This guy is a talented musician but what the fuck did I just listen to?
Should listen to more
An interesting and atmospheric album that's hit and miss. The instrumental tracks are much more effective than the spoken word oddities. This record might really benefit from having an actual film synced to it.
Stupid album name aside, Dirty Barry kills any and all momentum for the album and made me wonder when the next shit song would halt all progress for the remainder of the album.
I really would rather have been watching a David Lynch movie.
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.
eh
Strange that I got Oedipus Schmoedious the day after Nilsson Schmillson!! I'd never heard of Barry Adamson but the album is not bad
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.
I really thought about reusing my 3-star review of Moss Side Story for this one. But Oedipus Schmoedipus is the one of the two soundtracks truly deserving its spot on the list, so I won’t. And no, it’s not only because of its fantastic title. Does it help though? Abso-schmutely-lutely.
This maybe one of the strangest albums I've ever heard, and I loved it. It is an amalgation of different music styles: You have some dark cuts such as 'It's Business As Usual' and 'Dirty Barry'; you have some jazzy moments such as 'The Vibes Ain't Nothin' But the Vibes'; you have some rock moments such as the opener; you have some trip-hop songs such as 'Achieved in the Valley in the Dolls'.... you get the idea. And if this whole album works is because the songs sound really good. It may lack of cohesion, but it is still very enjoyable.
almost threw up during the first song. Something Wicked This Way Comes was cool though. Rest was a bit odd. High 2*, 58/100
Yup, this sounds like sexy movie soundtrack stuff. It's fine. Am I going back to it anytime soon? No.
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.
this was mince
It's always a pleasure when you get to use the word cinematic to describe music. Great sax work. Interesting story telling. Great mix of funk, jazz, and rock. If you can't make a movie, making this album is the next best thing.
Weird and fun
3 - kind of fun
what's this
Good grooves but a little bit boring overall, kinda like shop music that just plays in background
Nicht so meins
Ew
1.5/5
Otra banda sonora imaginaria para el mago de Moos Side (ejemplar carrera con Magazine, Visage o los Bad Seeds). Aparece también en esta colección su debut Moss Side Story, más influyente y de mejor calidad. Este tercer disco, inspirado en la muerte de su padre (como los dos primeros lo fueron por las de su hermano y su madre) apunta a los mismos lugares (Barry, Schifrin...) con algo más de ritmo en temas como la inicial Set the controls... que sin embargo es de las que menos me gusta (si la referencia del título es a Pink Floyd el resultado se ha quedado lejos). Contribuyen Massive Attack en la animada Something Wicked This Way Comes, Nick Cave en el estupendo cierre conThe Sweetest Embrace y Jarvis Cocker en la apertura con la mencionada Set the Controls for the Heart of the Pelvis. En mi opinión, no es un disco para estar en el listado de 1001. Pasamos de la alegría cool de Set the controls, al lounge-easy listening de The vibes y al sonido noire experimental de It´s a business en los 3 primeros temas. Le falta unidad si es que debería tenerla. Como colección de canciones tampoco aporta demasiado. La mejor canción con diferencia es The vibes, donde se nota la buena mano de Barry y su influencia en todo el Trip-Hop (Portishead sin ir más lejos). Sin embargo lo sustituiría por su recopilatorio The Murky world, colección de canciones estupendas y carentes de unidad como este disco pero de mejor calidad.
Weird, but exciting. I just listened to a movie.
Not for me.
Why?
An odd album, almost structured like jazz, but with some really good music interwoven. Ultimately all the other stuff in there was too weird.
The second album by Barr Adamson that I'm listening to as part of this project. When I heard the title, I initially thought I was listening to Krautrock. At least it sounds like a title from that genre. I liked the album so much that I listened to it twice. It won't be one of my top favorites, but it's definitely interesting enough to listen to again from time to time. 4/5
No thank you
I like Jarvis Cocker… as of typing this a new pulp album has just been announced/ spike island released. Different class is one of my favourite albums, this is hardcore+ his n hers are both great! Idk who atticus ross is honestly??? Then I don’t care for the rest of it.
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.
It was interesting with the different genres mixed in. But, I wanted more ear candy.
Basically sounds like a soundtrack to a David Lynch movie which I guess it partially is. Should maybe be a 3 but downgraded to a 2 due to some of the spooky weird shit that just doesn't land.
3.25 surprising. The jazzy songs were a treat.
Film music without a movie.
Elevator music if the elevator was cursed and Jarvis Cocker was on it until the first floor.
Wtffff is the name of the first song ??? And wtfff are those lyrics ??? "Something Wicked This Way Comes" that was such a great song really catchy and groovy for sure, what a crazy synth !! "The Vibes Ain't Nothing But the Vibes" daaaamn the name of the song is so accurate that jazzy atmosphere is really great. "Vermillion Kisses" that song at first was sooo weird but the idea of making a song like that is sooo clever but the lyrics are crazy once again. I'm kinda lost to give a rate to that album, wtfff was it, clearly for the originality that's a big 5 but the lyrics were crazy and sometimes the vibes were weird as well so I would give a 3 but it's a 3.5.
Téléphone rose type beats + Nuclear fallout type beats Ok there's some cool jazz ones : - In a moment of clarity - The big bamboozle, which is very cinematic It gives nick cave Had a 2/5 time
The problem with movie scores is that they enhance the visual experience, but are often incredibly dull without that context. I would say this album falls into that category.