Reviews (page 5 of 8)
Not really my thing.
Soundtrack keksittyyn elokuvaan ja sitähän tää on, taustamusiikkia. Tavallaan ihan mielenkiintoista, mutta kuitenkin sit hiukan tylsää pelkiltään. Kappaleet kuitenkin ihan vaihtelevia. Parhaat: Something Wicked This Way Comes, Achieved in the Valley in the Dolls,
For the first thirty seconds, I was excited. Where are we going? And then we went nowhere. And then we went to Nick Cave-ville. 2.5
Well that was definitely an experience.
(Listened twice) What a curious album. I almost wish I hadn't read the description of the album first. I would have been so weirded out. But I actually really like this dogma of making a fake film score. I was in an antiques thrift shop while listening, and it was the perfect setting. Horror, folklore and fairytales. It really did feel like I was in an art film. Some of the songs were upsetting, and were either triggering stress/anxiety or sexual tension. So yea it definitely made me feel a lot. Which I really like. Don't know if I would recommend to listen while doing work related stuff. Which I did the second time haha. Especially liked the fairytale song and the Nick Cave song. Giving it 4.
Wanted to like it more than I did. Some songs are just not good.
I have zero clue what genre this is, or what the point of the album is, but it I give it credit for being incredibly unique with some impressive instrumentals.
Tonally this is all over the shop, but it’s a marginal improvement on ‘Moss Side Story’, with welcome cameos from Jarvis Cocker and Nick Cave.
Really interesting album
Älskar Cocker å hans låt gillar jag mest och ger mig hela personligheten på resten av skivan, även om att jag vet han inte var någon annan del. Det funkar riktigt smart tycker jag men fortfarande blir skivan lite tråkig förutom visa delar t.ex. då någon övergiven pundbarnmamma ringer. Men musiken i min åsikt är inget märkvärdigt, så skivan blir nästan helt driven av intressant text och personlighet och varför detta då inte fortfarande blir en fantastisk skiva är för hur få inklipp man får av det.
Cool. Not lyrical
Albums like this are why I love this fucking list. It's the last week of new albums for me, and after all this time I still get albums I've never heard of by artists I've never heard of, that I instantly love. This album is just so cool. Also, Atticus Ross (Trent Reznor collaborator) worked on the first 6 songs on this album. It just has this seamless blending of modern sounds and classic instrumentation. Like one minute it's trip-hop, then suddenly it's Bitches Brew, but there's nothing startling about the transition between the two. Also, this album has the perfect amount of vibraphone on it, which is to say a shitload. It slows down a bit in the back half of the album, but by that point they've already got my money, so there's no point in complaining 4/5
I frankly do not know what to do with this one. There was some stuff here I liked (everything before Business As Usual mostly), but other parts dissolved into sounds that will become the soundtrack of my nightmares. The last few songs on here were pretty good too. I'm just giving this 3 stars and probably won't come back to it.
Tuned in here to write that I am vibing with this only to find the name of the song is The Vibes Ain't Nothin' But The Vibes. :cheff-kiss: This is the kind of shit I can get lost in completely and I love it. The sleepy keys are magical. Oh my. Hard pivot into It's Business As Usual. Straight thriller vibes -- I'm deeply uncomfortable. Was going to say, this sounds in a similar vibe to something on this list. Sure enough we already reviewed an album from this guy that also had an ominous / dark song. Miles is a brief ray of sunlight, before turning into the demented Dirty Barry that shifts back and forth melodically with a wandering trumpet underlyament that reminds me a lot of Cuong Vu (in the best of ways). This one was a trip. There were parts that I thoroughly enjoyed, parts that made me uncomfortable, and other parts that kind of just washed over me with no effect. Overall impression is that this was (similar to his last) a weird one with a cinematic flair (which checks out given the Wiki entry stating this is a "soundtrack" for an unwritten movie). I enjoyed it for what it was and will have to do a few plays through to form a better opinion. Gut says this is a low 4.
Something Wicked This Way Comes is an absolute gem. It's Business As Usual is well done, but it felt like I was listening to an adaptation of Se7en. Not at all surprised that Nick Cave worked on this album. Alternating from jazzy, noir songs into uneasy songs certainly kept me focused. After the second song this was on a 5 star trajectory. This album really felt like listening to a movie. Really enjoyed the actual songs. I also enjoyed the interludes, but not nearly as much as some of the songs. Overall this settles into a 4 with no real expectation that I'll come back.
Another Barry Adamson fake movie soundtrack which is a hilarious way of making an album. This one I think was much cooler than his other. I don't know if this makes any sense but it was if a 50s gangster movie meets Starship Troopers with the variety of songs. Certainly some extremely weird parts in it, but most of the songs were very good.
Really have loved everything 3 songs in except for Jarvis Cockers weird/sexual noises again on the first song. Ok It's Business As Usual is fuckin weird in a bad way. I REALLY DON'T LIKE IT. Back to a jazzy number with Miles. Dirty Barry is very uneasy but I don't hate it. Then I don't really like Verimillion Kisses. This album is weird. Big Band number next of course. Was gonna say this sounds like Nick Cave and of course it is. What a weird album. I'm not even entirely sure how I felt about it so I'm going 3.
What a wildly inconsistent and thoroughly weird, yet sometimes charming album. Rounding up from 2.5 for the balls of it all.
Some of this really creeped me out
No thank you to this one.
Strange.
What a strange project. This made for fantastic background...sounds, and I actually managed to lock in and get a bunch of work done for the duration of the album. While strange, and not necessarily something I would go back to on another day, I think this is exactly the type of album that needs to be on this list. + points for not being yet another brit pop debut. 3/5
An interesting album for sure. It seemed to have a cool mix of talent on it - Atticus Ross and Nick Cave. And going from It's Business as Usual to Miles is a hilarious contrast. I did like the former song, and a few of the others too. The variety and range on this album was really cool even if I didn't love every song on it. 3.5/5 stars.
I had not heard of Barry Adamson until doing this project when I got another one of his records, "Moss Side Story,"early on in this thing, and I'm stoked he has another record here. It's weird and out there in the way I want. Didn't hit as hard as that first one because of actually having expectations this time, but still a great record.
Bueno
Nice atmosphere.
That's the most enjoyably weird album I've gotten on this list to date.
this was all over the place, started ok then moved into a jazz sorta vibe, odd. Enjoyed the first half of the album but it started to drag toward the end
Enjoyed the first few tracks, then it got weird, then it made me listen to Nick Cave.
I have to be in the mood for this type of soundtrack like music.
If I could watch the movie playing in his head that this goes with, I might have enjoyed it. I can’t, so I didn’t. Instead it made no sense. Some of the jazzier tunes weren’t too bad, even a little enjoyable at times, but by the time they rolled around he’d already lost me. And even they got pretty monotonous fairly quickly. All in all, it’s mostly background music at best, and even not great at that. If I were a teacher, it would get a D. With extra credit, maybe a C-.
Pretty good, but minus a star for getting a lil weird. Fun instrumentals and decent vocal work. 'Miles' was my fave from this lot.
Quite enjoyed this despite its quirkiness. Some good background tracks and moody jazz pieces, 'miles'. Must admit that some of the voice overs were annoying and think that Jarvis Cockers talent could've been better used. 4 stars
Good album from an artist i was not aware of
This album was a little strange. I wasn't really into it. It was a background listen for me. I hadn't heard of the album before.
Love it musicwise it's smooth and chill I love the almost whisper like monologue in there especially in "The Vibes Ain't Nothin' But the Vibes"...above 3.5/but not yet to 4/5. A beautiful story book (yet disturbing in essence).
I was very surprised to see a Barry Adamson album make the list after listening to some of his other work, but I couldn’t wait to give this one a go. I’ve always loved his contributions to The Bad Seeds. Overall, this album has some great tracks but also a fair amount of filler. It felt about four or five tracks longer than it needed to be. You could easily cut out Dirty Barry and In a Moment of Clarity and focus on the stronger, more complete songs like Something Wicked This Way Comes and The Sweetest Embrace. Favourite song: Set the Controls for the Heart of the Pelvis—what a track! A fantastic way to open an album and set the tone. There are some great songs here, and The Sweetest Embrace is brilliant. That said, I might be a little biased, as I love Nick Cave. Least favourite: The Big Bamboozle—one of several instrumental-led tracks that I just didn’t connect with. Album artwork: A really cool cover.
2,5
Some great tracks, not consistent though
As much as I liked the concept behind this album, and even vibe with a lot of tracks on it, I just can't get on the level of the disturbing portions.
A brilliant noir soundscape where jazzy rhythms and unsettling melodies collide in beautiful dissonance, creating a world both seductively familiar and gloriously unhinged.
Well i don't know what i expected, but it sure as hell wasn't this. loved it. sneaky little massive attack sample in there too. right up my street
First impressions more jazzy stuff, just a bit more up to date. But it was a bit more than that changed style a bit improved, and went down hill again, but overall deserving a 2 I think
Sorry, no, I just don’t get it. I have a bit of a mental blockage when it comes to movie soundtrack albums anyway. They can be just a jumble of different styles and only mean something to the those that love the movie. This one was a jumble. But, it was an imaginary movie? Why bother? Sorry my brain does not compute. If it was strong musically then I might not have been bothered, but it’s not.
This could have been so good if 50% of the tracks had been culled. What was point of some of these, such as 'Vermillion Kisses' and 'Dirty Barry'? It became a very jarring listen.
Not very memorable
Not to sure what to think of this. The Nick Cave vocals were nice though
Good musicians joining in here, and that show, but then it is also a bit too conceptual for my taste. PRoduction and arrangements are over done..
Hmm
Some of it is interesting. A few tracks I enjoyed. Overall as an album experience, I won't listen to it again. 2/5
2.0 Just arty shite really. Don't really get it. Got as far as the Vermilion track and called it a day. Didn't ask for a story. Some of the instrumental pieces weren't terrible. But on the whole not an enjoyable experience.
This album probably had the most surprising sound of any presented to me on this list so far. It sounds more modern that the 90’s, it’s not as scary as its cover suggests (though there are dark moments for sure), and it randomly features Nick Cave near the end. I ended up listening to it 3 times because it was so interesting and varied. It plays like a film score, which I imagine was then intent. The opening track is fantastic. Cave’s song is as well. A great record to own on vinyl I’m sure.
Sometimes boring. Often irritating. Occasionally funny. Only sometimes interesting. I hate when an album feels like a collection of experiments.
Nobody asked for a soundtrack to a movie that doesn't exist with an intro about thrusting your pelvis
This starts promising, but then kinda fell off, in my opinion. I won't come back to itm
Extraño pero buena vibra, hace tiempo en esta web que no me tocaba un álbum desconocido que me interesara tanto. Y mira que entraba con poca fe. Resulta además que Barry Adamson había sido miembro de Magazine, cuyo disco recomendado por esta web me chifló, y de Nick Cave and the Bad Seeds, aunque creo que no en la época de los discos que más me han gustado... (Estaba escribiendo esto último y justo ha empezado la canción en la que canta Nick Cave)
Really really weird and the auditory equivalent of Dada art. It was interesting enough to keep me from calling it bad.
Very interesting album.
Enjoyed this one quite a bit. Very different from a lot of the albums on here.
I listened through the first track because it’s included Jarvis Cocker. I made it halfway through the rest of the record before I decided life is too short to listen to this much triphop.
I liked one or two of the songs...but man does this go from listening to music to filling out a restraining order on the behalf of someone and back. Some of the songs are just fever dreams of noise. Mixed in will be something more attune to playing in an elevator.
A chaotic though reasonably enjoyable collection of what essentially feels like background music.
Minus one star for the repulsive opening track.
annoying
Dark and weird, tom waits esx but not quiet
Some of it's fun instrumental. Some of it's unlistenable (It's Business as Usual). The Big Bamboozle sounded like it would fit perfectly in a Bond or Oceans movie.
Okay... I'm conflicted on this one. My conflictedness on this Barry Adamson album largely comes from the contents of the album itself. Who would've thought? See, some of this album's "songs" are uncomfortable nonsense that, had the album been entirely comprised of them, totally would be 1/5 material for me. I'm referring to tracks like "It's Business As Usual" and "Dirty Barry" for this one. However, the other tracks on here are actually fairly solid musical compositions, many of which are instrumental. This, I feel, is a good thing, as the vocals on this album really don't sit right with me with a few exceptions. The exceptions are the times Barry Adamson gets a different person to sing, with the clear highlight in that regard being Nick Cave appearing on "The Sweetest Embrace," even if it does remind me of the fact that Nick Cave is overrepresented as fuck on this album list. But honestly, the instrumentals like "Something Wicked This Way Comes" ended up being the album's strongest moments for me. These compositions aren't bad. The lyricism is weird. I'm not a huge fan. The album's also pretty long, but I don't know if it dragged or not. If it did, it wasn't too excruciating. Overall, Oedipus Schmoedipus is an album with some things that I actually like quite a bit, as well as things that I don't exactly like. I can see why David Lynch put one of these songs in a movie of his, but it's not really my thing personally. But hey, it's at least more interesting than most of the other somewhat obscure British picks on the list! Low 3/5.
I usually end up giving these experimental albums fairly high ratings, but this just isn't very interesting.
Cool music ruined any time a human voice shows up.
Really diverse and creative album. One minute you're assailed by a panic-inducing stalker spiel ("It's Business as Usual"), and the next you're hearing a twee jazz fusion track replete with vibes and 80s sax solos ("Miles"). Then, as if just to keep you off-balance, they go back to creepy with a track that sounds, save for the sick trumpet playing, like background music from a Resident Evil game ("Dirty Barry"). Loved the Nick Cave song near the end ("The Sweetest Embrace"), even if I'm not sure what it's doing on a "Barry Adamson" album because it really just sounded like Nick Cave through and through. Thoroughly enjoyable. 4.5
Nice album by Barry again. Sometimes a bit out there
Half this album was nice vibey music, the other half had creepy talking. Stand-out: In a Moment of Clarity
Pretty cool idea and execution but there is a reason I don't listen to single artist soundtracks, I will just watch the movie and listen to it then. Also, the cover makes me uncomfortable.
title is crazy. other barry adamson album i heard was kinda ass but still cool conceptually. hope this isn't the same. slightly less bad but still kind of chore to listen to
This fucking guy again?! Look, you've already included his first album, which was "a soundtrack for an imaginary noir film", but to also include Oedipus Schmoedipus (just an awful album title), which is "a soundtrack for an imaginary noir film" is just negligent... This is nothing more than mid background music occasionally with some creepy, sometimes overtly sexual spoken vocals. I'll admit that some of the songs had some decent grooves, but not enough to merit it's placement on this list.. I guess 1.5/5 stars rounds up to a 2...
Sleazy, whimsical, and deranged all in one package.. certainly a fucking wild ride all around. The level of whiplash I received going from "It's Business As Usual" into "Miles" was comically high.
4+ za nicka cave'a
Eines der 1001 besten Alben? Ganz sicher nicht für mich. Plätschert so dahin, ohne wehzutun! Fordert aber auch keine Aufmerksamkeit! Muss man nicht abschalten!
This was an interesting album and not at all what I was expecting. I got Moss Side Story quite a while ago and couldn’t really remember what it sounded like. With this, I never knew what to expect when each track started. I appreciated that there was very little singing as that’s often where these albums go wrong for me. I preferred the upbeat songs as slow ones were a bit too dark for my likings. Vermillion Kisses was so painfully awful that I almost skipped it. Holy shit, it had to be one of the worst things I’ve endured in 900+ albums.
MC Shadow and Tom Waits had a love child and begat this album.
Interesting
I did not expect to hear Nick Cave on this album. It's by far my favorite part of the album.
High variance. Really enjoyed some tracks but the more esoteric ones such as “Dirty Barry” really rubbed me the wrong way.
I really enjoyed this album! Spooky and interesting. including Nick Cave, Atticus Ross and Jarvis Cocker. Whats not to love! What a fucking creepy album!
Surprisingly this isn't the first concept imaginary film score album that we've had on the list. I think this was a case of an ok album, on a bad day. It has some good moments, but then super irritating for large chunks and I had to keep turning it off - it took me forever to listen to and forever to decide what to write. On the whole I didn't like it.
I liked it more than I thought I would. The lyrics were originally wacky, and some of the songs had a really cool/rainy tone, though there were some definite departures from that at various places. I like the concept. Worth a listen.
Ça c’est un weirdo d’album, tu m’aurais dis que c’est une soundtrack d’un film de Lynch (paix à son âme dis-je en m’embrassant l’index et en l’agitant au ciel, le regard mélancolique) eeeuh, j’disais quoi?…ah oui, hum hum, je t’aurais cru! C’est pas toujours un homerun, mais ça essaye des choses, ça mêle les genres, faque ça mérite une étoile bonus
Didn’t like this. Too moody
I was about to complain that they sound like Pulp. Of course, it’s cause it’s the singer from Pulp. This is better than Pulp. I like the instrumental bits. Miles is a particularly lovely tribute. This is a nice concept project. The music certainly fits a soundtrack. But it’s not pleasant listening all the way through.
This had easily the most viscerally uncomfortable track for me of any album we've had so far. I heard about half this album and then didn't drive my car for a few days, and when I got back in the car and it came back on, my first thought was "oh this fuckin guy". I liked some tracks but for the most part no thank you.
high highs and low lows but i get how this would really hit for some people. as a full album experience it was a drag
not sure what this guy is up to but I'm happy for him i guess
I was going to joke "I'm going to start telling Nick Cave fans my favorite song of his is The Sweetest Embrace" but that's actually his vocals, which is exactly the same problem I had when I watched Lost Highway later this day and thought I'd crack a joke about it being "the extended music video for The Perfect Drug" which was written for that movie and not just a visual coincidence with the highway lines. Taking a lot of L's today. This was pretty weird. I do love a weird little guy.
Pretty good, background/movie score jazz, some cool moments
Another album I went into not knowing anything about. The concept of creating a soundtrack for a nonexistent film is kinda neat and I think Adamson pulls it off here because I can kinda see this being a real soundtrack. Jarvis Crocker of Pulp on the opening track was a pleasant surprise. There are a couple other decent songs but overall its not terribly interesting. Also the album generator classifying this as a rock album is kinda silly. Favorite track: The Sweetest Embrace 2.5/5
Uhhh this fucking sucks? Best Song: N/A Rating: 0.5/10 1 Stars
This is like being at a family gathering and then your grandfather says something egregiously racist and everyone pretends like nothing ever happened.
The music is good… but the whole thing is just too weird. Many of the songs could fit okay as soundtracks for different movies, but I don’t have those movies to reel me in, which makes this whole thing uninteresting and almost annoying. I know that all the songs are tributes to artists, band and movie directors, but it just does not work for me. In a moment of clarity was the hoghlight
Did I hate it? Kind of. At least some of the tracks. But it was also kind of amazing.
Pleasantly surprised. A great listen. 3.9/5
This one caught me by surprise - very nice.
An interesting concept for an album being made for a fake movie. There are some crunchy beats, cerebral voice recordings and sex noises? Extremely experimental at times so much that it moved a bit out of music and became a art passion project. Great one and done album in that I have heard it and will never listen to it again. 6/10
Meh
Supremely atmospheric, great cameos.
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
1996 art rock, bdb
An interesting experience
Kind of wacky. In the Tom Waits school of stuff. Need to seek more.
Seems self-indulgent.
Freaky
Nice. Very nineties chill out / cooler than thou / groovy vibes. Could be on a playlist with Ninja Tune and that lot. Sounds a bit dated in a way and some of the speeches made me feel a bit icky.
Loved this….
This was ok I guess - seemed like an amalgam of every stereotype of 90's sounds imaginable. I don't think I'll put this on again.
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.
It must be a 6 music favourite because curiously I knew a few of the tracks and wasn't expecting to. Pretty enjoyable though Miles was a bit pastiche.
I think there are some different songs in here, not all are that bad. But it's certainly a strange album and not something I could casually listen to.
This really did sound like a film soundtrack, thought that before reading the wiki blurb. So goal achieved I supposed. I'm not sure this is a good way to make an album with listening to, particularly more than once. Found it vaguely interesting this time but there's too much spoken word and background stuff to warrant every going back. Some tracks were okay though and it was just about worth the one listen. 2.5.
Recognised a couple of songs from adverts, presumably. Miles, The Big Bamboozle, and I enjoyed Something Wicked Those Way Comes, and The Vibes Ain't Nothing But The Vibes. Quite different, although it seems the artist does this a lot, conceptual albums for films that don't exist. Held my attention, finished strong with The Sweetest Embrace and Set the Controls Again, mixed noticeably louder than the rest of the album.
Never heard of Barry Adamson. A movie soundtrack to a movie that doesn't exist hey..... Weird. It does sound like a movie soundtrack though I think so he achieved that I suppose. I'm not a fan of real movie soundtracks generally though, so not sure how I feel about this. The opening track with Jarvis Cocker was weird. I didn't particularly dislike it, but doubt I'll be back 2.5
Definitely weird and interesting.
Bleeuckk!
My only knock against this album is that it is a little *too* all over the place. The plus side is that the album provides one of the more insane track transitions of all time when it jumps from "It's Business as Usual," which is legitimately a frightening track, to the bouncy, upbeat "Miles." But I'm happy to see this album's inclusion on this list. A lot of albums are here, rightly, because they are the best representation of a genre, even if that genre wasn't all that long-lived. Barry Adamson is on this list because he basically is his own genre.
DNL
Very interesting album overall. Got some good beats. Can really see how he was inspired by cinematic music to make it. I enjoyed the first couple tracks the most...they have a good groove
They say a sign of good music is that it provokes an emotional response, so this must be good music because it certainly does - even if the emotions it illicits are often stress, paranoia, or panic. It's certainly a unique album, and I found the more instrumental tracks decently enjoyable. Not everything lands, but I'll give points for trying. Favorite track: "Something Wicked This Way Comes" (I like Ray Bradbury)
All over the place
love the name of this album, but simply could not get through it because the vibes were all over the place
Wtf was that. Very cool and different. A bit tom waitsy. 4 stars today. On another day could be a 2. Bizarre stuff but not in a terrible Robert Wyatt kind of way (Wyatt is the shitometer to which all other albums shall be judged).
Malo. Muy orquestal o aureal,no me gusto la instrumentación. Alguna parte lírica me gustó, pero no es mi onda ni a palos. Sí hay un tena destacado que es el que guardé, pero no me va la onda toda opresiva y gótica, al menos no de este tipo ni Nik Cave.
Frickin weird man. 1.85
Some excellent sections but more fell flat than soared
This album is the least enjoyable one to date. Even if it were a soundtrack to a real movie that movie would be insufferable based purely on this representation. Meandering and annoying.
okay so, had this been purely an instrumental album i would’ve given it a 4, i actually really loved all the sounds. but lyrically this isn’t for me, i skipped two tracks. jarvis cocker made me feel so uncomfortable 😆 achieved in the valley of dolls sounded so trip hop! loved the way the vocals sounded. faves; something wicked this way comes the big bamboozle the sweetest embrace (feat. nick cave)
i only know this album because naomi got it the other day and she told me, “the opening track is an incredibly INCREDIBLY horny song featuring jarvis cocker,” and i said, “all jarvis songs are incredibly horny, that’s kinda his whole thing” and she said, “it’s even hornier than he usually is” and i thought, “there’s no way.” but then i listened to it and was like WHOA this is incredibly horny even for jarvis. so the moral of the story is that i should never have doubted naomi’s ability to assess jarvis cocker’s horny levels. but anyway this was kind of whatever to me. the best track was composed by this guy along with tricky and massive attack, so it’s hard for me to be impressed by him as an artist i guess. as far as imaginary film soundtracks go, this would work very well in a cinematic setting so he succeeded there…on its own, though, i don’t think it’s anything special. fav tracks: something wicked this way comes; the big bamboozle
That was really interesting. I wasn’t paying such close attention to the spoken parts so I’m sure I missed some of the concept but I did enjoyed the variety of kinds of music on here and how well it all flowed together. I don’t always like more experimental tracks but they felt well-placed in here. I also loved the opener and reprise as a the closer. I was cleaning while this was on and I feel like that was kind of the perfect way of listening to it and I can see myself putting this on again while doing stuff around my house. Fav tracks: Set The Controls For The Heart Of The Pelvis (feat. Jarvis Cocker), Miles
What a fuckin weirdo. I love it.
This was… different. Some songs I could visualize being played in a night jazz club thing with prestigious individuals. I really didn’t like the amount of talking, but I could really see why it’s so influential.
This was certainly a variety pack. Didn't much enjoy Barry's previous entry to this list ("Moss Side Story") but this one - even though it *also* is supposed to play out like a soundtrack to a nonexistent film - works a little better. Sometimes. Most of it was great to have as background work music, so much that I immediately played it again - except "It's Business As Usual" is kinda like .... dafuq?? Some very cool trippy tunes, some upbeat fun, and no shortage of some batshit "wtf?!" non-songs... I mean why not, it's better than yet another tuneless/thoughtless/untalented wet shit Sonic Youth mess - he was giving something new a go. On a less-important note...one of the worst album covers on the list. 6/10 3 stars
This was my second barry adams album and i didnt like the first. I though this was better, it had more variety and sounded like an actual album. The addition of some vocals was welcome and the guest stars are people i love. Still not going back to ist bit nice to find a Jarvis in the wild.
I'd never heard of Barry Adamson before, but I knew of some of the groups he is associated with. This was a very strange collection of funky jazzy motifs plus one quasi erotic spoken word fairytale. Some good jams in here but overall it was hit or miss.
Some pretty upbeat jazz.
Lounge music I didn’t hate during the first few tracks. Then it completely lost the plot up its own ass
This album flip flops between pop-y elevator music and weird, creepy, whisper-moaning. Sometimes, if you’re lucky, a single song has both. For the first time in over 200 albums, I am choosing not to finish this one before rating it.
Art rock will always be my least favourite genre. That being said, I was surprised at how much I enjoyed this album. It's very consistent, and even the album's more experimental tracks ("It's Business as Usual") were really enjoyable. It feels like this album covers a lot of ground but is still very cohesive in its sound (which is where a lot of other experimental albums fail for me).
An interesting mix of everything. I definitely agree that this is an album you should listen in your lifetime, but it's ok if u do it just once.
Unsettling and weird, certainly unique though.
first listen this sounds like 4 different soundtracks to the same pulpy movie but it is NOT cohesive
I needed to listen to this before I died. While it is and interesting listen, I just can’t see why it needs to be listened to over many album that are not on this list. I didn’t hate it. It would be a great soundtrack for a movie about spies or….it is similar to to the Until the End of the World Soundtrack….but that one is so much better than this. I can’t lie though…I enjoyed the listen, just don’t get why its so important.
very interesting as always mr adamson thank you can you unlock the door now
Some decent background music with no continuity in style from track to track
Was ready to give this three stars because of how jarring it was to hear “It’s Business as Usual,” but the more I thought about it, the more I had to be impressed with that song’s craft. It’s legitimately frightening, and I think that should be commended. The rest of the album is full of some sick beats, jazzy compositions and remixes, and a touching ballad or two. Into it!
I was on board with the concept and the overall vibe of this album. It started losing me in the early middle but it came back for the most part. It was artsy, different and an interesting listen. I didn't have high expectations but I enjoyed it.
Oh man, why has this guy 2 albums on this list. At least put actual movie scores on here instead of this. Too much xylophone and too incoherent
OK.
I went in with low expectations are reading the wikipedia blurb but was pleasantly surprised
Nah, I didn't like this. Too arty farty - can't have people speaking in monotonous voices over music that mostly goes nowhere
In my 20s, a mysterious lady led me to a cramped kebab shop in central London, where a secret revolving door opened into a dim, underground lounge. Inside, satin sofas, chandeliers, and plush interiors set a surreal stage. My memories of that night are hazy, but if I had to soundtrack the experience, Barry Adamson’s Oedipus Schmoedipus would be a perfect fit. Released in 1996, Oedipus Schmoedipus blends jazz, trip-hop, noir, funk, and orchestral elements into a cinematic, genre-defying masterpiece. Often regarded as Adamson’s quintessential work, it showcases his ability to craft vivid, boundary-pushing soundscapes. The album’s strongest tracks evoke moods ranging from seductive to sinister. “Something Wicked This Way Comes” builds dramatic tension with sweeping orchestral arrangements, while “Achieved in the Valley of the Dolls” leans into Lynchian surrealism, its unsettling layers drawing you in. “It’s Business as Usual” combines sharp storytelling with jazzy undertones, creating a sardonic, ominous vibe, and “The Vibes Ain’t Nothin’ but the Vibes” offers a lively, off-kilter jazzy swagger. Guest artists add significant depth. Jarvis Cocker’s sultry vocals on “Set the Controls for the Heart of the Pelvis” bring an infectious playfulness, perfectly complementing the track’s lounge-noir atmosphere. Nick Cave, with his brooding intensity on “The Sweetest Embrace,” imbues the track with gothic melancholy, adding emotional weight and complexity. The production deserves special mention for its meticulous crafting of sonic textures. Adamson masterfully blends lush strings and jazzy brass to build intricate, atmospheric landscapes. The orchestral elements enhance rather than overwhelm, and the album’s cinematic feel comes from the richness of these layered soundscapes. Jazz influences are woven into the fabric, serving the narrative rather than dominating it, shifting effortlessly between suspense, seduction, and surrealism. Released at the height of the ‘90s genre-blending craze, Oedipus Schmoedipus stands as an ambitious yet imperfect experiment. While its eclecticism showcases Adamson’s versatility, the constant genre-hopping can make it feel uneven at times. Some of the straight jazz tracks feel more like stylistic exercises than natural extensions of the album’s mood. In a decade defined by trip-hop acts like Portishead and Massive Attack, Oedipus Schmoedipus stands apart, more experimental and less cohesive. While Portishead built haunting atmospheres and Massive Attack perfected brooding, downtempo grooves, Adamson opted for cinematic grandeur. This distinctiveness helped the album gain a cult following, even if it never achieved the commercial impact of its contemporaries. It’s a dark, cinematic journey, with standout tracks that more than make up for its occasional missteps. It’s the work of an artist unafraid to push boundaries, even if not every experiment lands. If you were wondering; I returned to the kebab shop the following week, only to find the building demolished—fitting for an album that feels like a fleeting, hazy memory of shadowy allure. ⚬ Did/Do I own this release? No ⚬ Does this release belong on the list? It’s an oddball album, but it may fill some missing genre boxes on the list. ⚬Would this release make my personal list? Unlikely; I enjoyed it, but its unevenness holds it back. ⚬Will I be listening to it again? There are some tracks I’d like to revisit.
Didn't make it all the way through but was enjoying it for the most part 3.5
aatamin poika jaha.. eikös me kaikki olla? eli siis paska nimi. wautsika wau! taas albumi joka on lisätty listalle syynä: soolohenkilö joka oli osana jossain bändissä joka oli kuuluisa... tämä on tarpeeksi syytä että PAKKO PAKKO PAKKO KUNELLA KUUNNELKAA IHMISET MINUA: homosex homosex homosex homosex homosex homosex homosex homosex homosex homosex. ihan nautinnollista kuitenkin kun pääsee alkukankeudesta eroon. kun ei puhu PASKAA kesken intrumenttaalisen ambientin pyörieissä.. sillonkun ymmärtää istua ja vittu kuunnella omia tekeleitä eikä kännipäissää höristä jotai mitä vittua se nyt selittää yrittää jotain jotain seksijuttuja taas varmaan saatana kuunnella tommosta dirty barry
4 stars. Almost 5 except for the weird middle part. I loved this though.
Part of the Nick Cave extended universe. It's cinematic - conjuring dramatic images, tension, and sense of a scene. It's genre-bouncing (from croony jazz to acid house to loungey trip hop to elevator jazz and noir soundscape) in a mostly referential pastiche way. It has expansive instrumentation, not always successfully- vibes and drum machines are an awful combination. Is there a sound more dated than turntable scratching? It was never good. Mixed album that goes on for way too long. The dark ambient soundscapes are cool, the bright jazz is unbearable, the rest is mid background music. Favorites: set the controls, business as usual, dirty barry, sweetest embrace
Very disturbing. Not to my taste.
Barry’s soundtrack to an imaginary film. Love the bloke but come on pal, if you’re going to do it. Really do it. I remember on one of Houmous & Chutneys legendary jam sessions we managed to somehow evoke the feelings of a sort of against all odds, coming of age drama. We actually made it into a film. It was about two male tennis players. Direct competitors from a young age. Both turning pro. It followed their desire and journey for a grand slam trophy. We called it 2 Men 1 Cup. It was doing well until someone stole the idea, pumped a load of cash into it and changed the protagonists to women. We never watched it out of principle. I think it was about the Steffi Graff and Navratilova! 2.5
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
Oh, interesting, another Nick Cave connection. My expectations were low going into this, but it's a pretty cool album. It's thematic but tonally diverse. The avart garde tracks are engaging and fun, but I have to admit the jazzy tracks are my faves. Miles in general was such a fun little song. Overall, it's a fun album but another in a long list on this site that are more fun to talk about than to listen to. 3.5 / 5
Very good. Never heard of this record before
Interesting for sure, but boring at times and honestly terrifying at others. I'm seeing a lot of people note that one of the songs was in a David Lynch film and it makes a lot of sense. I've never been a David Lynch fan tbh, kinda like this album. I understand the appeal and I'm probably in the minority but just doesn't click. 4/10
Funfunfun, mit em Barry siinere Musig fühlt mer sich ja automatisch wie imene Film. I ganz vielne Film. bi ganz, ganz durchmischte Genres. Das er viel Soundtrack für de David Lynch gmacht het findi au sehr sympatisch. De Albumname Oedipus Schmoedipus chönt au guet vo eus sii bevor mer en DJ gig hend und no ganz schnell en Name bruchet. will sini kompositione hald doch durchs Band mal alli Film und Musig Genres duregönd, und ich s album biz han müsse durerushe, gits "nur" 4 Oedipus Puentipus, eimal gschüttlet und ned grüehrt.
Ah man, mis review isch au lost, i feel you Tbone. Has i drü tranche gschriebe, isch na güet gsi. Und ez mussis im laufe und im rege schriebe: bääh Kurz: name geilo. Barry=fun Adamson=protomale? Oedipus schmoedipus=fucking legend album name Song näme au mal was ifallsrichs. Und vlt s wichtigste glatt zum lose isches au. Sehr sogar. 4 griechischi mythe für de barry
das album fühlt sich ah wie en start zumene all night bender amene samstig abed, alles isch super, mer trifft sich, chauft sich no material und ab gaht de spass party hopping, sich mit es paar lustige gstalte unterhalte aber bald wirds wider hell und mer merkt wie duregfrohre dasmer isch mer chrücht is bett und versuecht sich chli schlaf geh hett leider nume so halbe klappet mitem schlaf, drum stahtmer ezt mal uf wellmer ja no sache ztue hett ah dem vernäblete sunntig mer gspührt chli dsunne dur de nebel dure während mer sinnere atemwolke zueluegt wie sie devotribe und sich mitem rest vo dem versuppte tag vermischt langsam wirds au scho wider abed und swuchenend isch halt au schowider verbi mit letschter chraft phaltetmer sich wach zum doch no chli was vom wuchenend zha wellmer isch eifach nanig parat für eh neui wuche aber de schlaf übermannt ein doch am schluss klari 3 sterne experience
intressant schmintressant weiss nöd öb de fall bi eu au scho ihtroffe isch aber bi mir isch hüt en klassische fall gsi vo: wow tönt eigentli sehr spannend und guet aber ich han irgendwie meh luscht uf mini komfort schmomfort lieder woni scho känne und bin gad nöd so explorefreudig, trotzdem losi aber s‘ganze album schmalbum das isch aber gar nöd am barry sini schuld, morn vilicht… ich han 4-5 lieder ufjedefall mal gspeicheret woni s‘gfühl han chöntet durchus wiedermal de weg zu mine ohre schmohre finde wege überraschigseffekt gids also 4 pünkt schmünkt
The music itself is pretty good but the vocals and lyrics are odd and awful. The one song with dialogue was creepy as hell, sounded like a stalker.
It was like dating a weird gal. The beginnings were nice ("Something Wicked Comes This Way"), you realize she's not special ("It's Business As Usual"), and the further you go, the more boring and odd it becomes ("Vermilion Kisses"). Like it was all "The Big Bamboozle". Then you get the last "... Sweetest Embrace" from her, and you "Set the Controls Again" to search for another...
Favorite Track: The Sweetest Embrace
Ik kan de broeiende, groezelige gekte van Barry Adamson goed hebben. Ik herken dan ook een aantal nummers van zijn verzamelaar The murky world of. Jazz, big band, beats, rare verhaaltjes, een gastoptreden van Nick Cave, kortom: laat ome Barry maar schuiven in zijn sfeervolle fantasiewereldje.
Je moet waarschijnlijk gewoon de film gezien hebben...O, nee! Wat lees ik nu voor ongeloofwaardig verhaal? Muziek zoekt film? Net de docu 'Music by John Williams' gezien. Vanuit dat perspectief, kan ik met deze uitleg helemaal niets. De zogenaamde filmstukken zijn dan ook verschrikkelijk. Maar af en toe komt er een 4 of zelfs 5 sterrennummer doorheen. De muziek gaat van jazz naar triphop. Ik zou de algemene term 'relaxed' gebruiken. Had het daarbij gebleven, had ik de 5de ster wellicht wel aangeklikt. Nu middel ik het maar uit...
Triphop-achtige vibes met circusgeluidjes of meer de ouderwetse 'carnaval'. Overduidelijk 90s in ieder geval. Een breakbeatje, wat gekke klingelklangel. Soms jazzy en doet het me denken aan Tom Waits. Het moet een beetje maf zijn en toch sfeervol. Stukken beter dan de postpunk waar hij uit voortkomt en vrolijker dan de Bad Seeds, dat moet gezegd worden. Blijkbaar was dit bedoeld als soundtrack voor een film, in de hoop dat een regisseur dit uit zou pikken. Als het als soundtrack had moeten fungeren voor een 90s film, dan had ik het niet in de hoek van David Lynch gezocht. Eerder iets artsyfartsy semi-lollig. In de schoenen van een Hans Zimmer mag hij absoluut niet staan, en laten we vooral niet spreken over John Williams. Al was hij daar ongetwijfeld niet op uit. Maar ook zeg een Radiohead heeft al betere (exit) music for a film gemaakt. Ondanks dat het allemaal iets te pretentieus is, is het vaak best vermakelijk om te luisteren. Voor de triphopachtige muziek had ik op een goede dag best een 4 kunnen geven. Alleen de filmische verzamelingen reut tussendoor, zoals track 4 en 7, dat soort rommel op een album is verschrikkelijk. En haalt het album als geheel voor mij zwaar naar beneden, zeker als dat soort tracks gewoon te lang doorgaan.
Had every music style in a kind of kaleidoscope of sound
Cool mash up music. Had never heard it but it explains where fatboy slim and dj shadow and moby came from
Interesting album
Distilled 90’s at that sweet spot between post modern camp and pure self indulgence.
jocasta schmocasta
All over the place, bouncing between electronic beats to jazz to generic ’90s art rock. None of it bad, but none of it amazing. It’s very self-absorbed, and that gives it this vibe that it’s an oddly insular album that no one really needs to spend a lot of time on, so I won’t give it any more unwanted attention.
Kinda soundtrack-ey, very atmospheric/ethereal
Hmm, this is an odd one. Some songs have a lot of groove, but the concept of it as a soundtrack to a nonexistent movie shows through very clearly with a lot of it too. I don’t think it’s something I’ll listen to again, but I don’t hate it
This music was too weird for me, though very stirring. Not bad, just not my taste.
yeah not really my thing at all. the more hip-hop-esque sections were not very stellar and the jazz-ier, lounge-ier sections were also not stellar. maybe it's because the album i had generated before this one was Coltrane, but the jazzy stuff on here feels so stale. in fact, the whole album kind of feels stale. it's like i'm listening to the soundtrack of a d-tier movie. it sounds dated in a very not charming way. and there are some unlistenable and oddly horny stretches here. but the worst sin of all is that, quite frankly, it's pretty boring.
Good, mostly melodic. Background noise
set the controls for the heart of the pelvis- 6 something wicked this way comes- 5 the vibes aint nothing but the vibes- 6 its business as usual- 7 miles- 6 dirty barry- 5 in a moment of clarity- 5 achieved in the valley in the dolls- 5 vermillion kisses- me too girl. 5 big bamboozle- 7. sounds like the incredibles state of contraction- 5 sweetest embrace- is that fucking nick cave. hiiii. 6 or 7 set the controls again- 6 it was interesting at least
Nog best oke. Vooral Nick Cave!
This sucks lol. I think it’s more interesting as a concept than it is listenable as an album
This was a trip. Unexpected!
Just not good at all 4/10
Some cool tracks, some Lynchian tracks. Decide if you want to be one or the other.
Nice background music.....but why is background music on a 'must listen to' list?????
This album is *wild* and feels timeless/genreless.
Honestly, I listened to this after the election in 2024, was already in a depressed mode, and this record only made it worse. It's way too avant-garde and pretentious for me to derive any joy from. The moments I did like were so fleeting and brief that it just made me more mad because at least there was a morsel that could have been duplicated but wasn't. Pardon my misplaced anger and hatred, but eat shit and die Barry Adamson. Notable Tracks: - Miles 1.5/10
The first two tracks are pretty good but I found the rest mostly meh
Gear: Abyss DIANA MR Artwork: ⬛👩👦👹 Production: 🎧😐...🤯😍 Music: 💻⌨️🖲️🎷🎹💿🍦😎😱 Rating: 👩👦👩👦👩👦👩👦/5
First album and artist I was 100% unfamiliar with. The entire album sounds like it's half finished or they laid down the backing tracks and forgot to include the leads. Weird but not in an interesting way
At first I was a little put off by how weird it was... and then I started to get it. It's experimental for sure, but I kind of dig it! Weird dark jazzy trip hop stuff... kind of a noir fever dream journey that I'm really starting to like.
I liked some of it, but in the end the “soundtrack to a movie that doesn’t exist” experiment doesn’t work.
I didn't know what to expect. I can't imagine he paid for all those samples.
This sounds like a movie soundtrack. Pretty cool sounds and the tracks had a different vibe each.
While the individual sounds and styles presented throughout the lengthy tracklist are well done, with solid production and detailed arrangements, the album itself just feels far too disjointed and unfocused to be anything truly impactful. A lot of the time, I just don’t know how this album is supposed to make me feel. Where jazz music can present distinct emotion through solely its instrumentation, it feels like this album is missing the part to actually allow the music to connect with the listener. Again, I think the different elements on their own sound, for the most part, good, the full album experience just doesn’t particular work. I did really like the jazzier tracks in the middle and I adored the track with Nick Cave, though
He's talented but this is a convoluted mess. He sounds like he's trying too hard to make the album to please everyone. In the end, it falls flat.
A little too strange for me.... and I like strange
Really cool acid jazz album.
Different, heterogenous, interesting. 7/10
Wild album, lots of mommy issue, cool sound though
What a wild creepy all over the place album. Should it be on this list? I don't think I can judge as it's something that may need to be heard. Not exactly enjoyed, but there were some nice jazz type moments.
Genuinely bizarre album, don't ask me what genre this is. I saved three songs, one is just a straight jazz tune that seems pulled from a video game soundtrack or something, the other two are evil noise. Dark energy emanating from this project, but I do appreciate the inclusion because it's certainly interesting. Favorite tracks: Miles, Dirty Barry, Business as Usual. Album art: A woman holding or hugging a boy? Surrounded by...I don't know what, just looks like a void. It has an effect on you, that's for sure. But I don't love it, a little bland. 3/5
Very diverse within the soundscape/ambience realm with some elements of jazz and some gospel. Really liked it but i dont know if i would listen to it, if i wasnt studying.
Like his other album on the list, I like this fine. However, it’s really not a good idea to put two albums by the same artist that fill such a specific niche on the list, especially since it could easily be argued that neither of them deserve to be there.
Guess Barry Adamson's whimsical intents and film noir inspirations were too out there and unhinged even for the Bad Seeds. No wonder one of those cuts found its way in the soundtrack of a David Lynch flick. You can readily believe this album is itself the soundtrack of an imaginary movie taking place in Adamson's head. And as disjointed as it is, it would be unfair to say that this record is an unpleasant listen overall. The thing is, too often is *Oedipus Schmoedipus* stuck in one of three repetitive modes, without any of them yielding absolute highlights either. You have the jazzy cuts, pretty cool, at least if you take out that safe-sounding cover of Miles Davis's "Milestones" (simply named "Miles" here, and which brings nothing valuable to the iconic original and its modal jazz shenanigans). You have more contemporary trip-hop-adjacent forays whose rhythm patterns unfortunately aged rather poorly, most of them without the harmonic and melodic creativity of the greats in that ephemeral genre (and that sample from Massive Attack's *Blue Lines* in the opener sure sheds a somewhat unflattering light on its new surroundings, as "cinematic" as they're supposed to be). And finally, you have moody musique concrète and spoken-word interludes that just sound weird for the sake of it. Worse, beyond some admittedly evocative moments here and there, nothing during the clash between those three musical modes gels cohesively. You have a few cool scenes, but the whole story doesn't resonate. If *really* we had had access to the pictures and narration that went in Adamson's head while he recorded those tracks, maybe there would be a little more to relate to. The problem is that the many obfuscated elements of this record don't really encourage you to create your own pictures in your head either. It's all a little blurry. It feels like the cinematographer is too often doing a lame job. And the end result is just mostly confusing -- not in the sense of David Lynch's best films, which confuse you in ways that can make you react very strongly to what's shown onscreen -- but rather in the sense a B movie filled with plot holes, clichés and missed opportunities can be. The guest list is interesting, though (Jarvis Cocker, Atticus Ross, Carla Bozulich, Nick Cave -- who has since "acted" as a crooner with far more emotional potency than on the day he recorded the dark ballad in which he appears here, "The Sweetest Embrace"). Everyone plays their part as convincingly as they can. And, sure, in spite of what I wrote up there, there is nothing truly obnoxious in this record overall. But it is no "essential album" for me. I'd rather flirt with the love interest next to my seat, brought to that dark theater with some sly afterthoughts in my head, than actively watch the film. Now bring me the popcorn (and another album, please). 2/5 for the purposes of this list of essential albums. 7/10 for more general purposes (5 + 2). Number of albums left to review: 35 Number of albums from the list I find relevant enough to be mandatory listens: 417 Albums from the list I *might* include in mine later on: 243 Albums from the list I won't include in mine: 309 (including this one)
Some nice songs
A very odd album. Interesting, but odd. I really dig some of the songs. Others were strange. None were really bad, which is out of the ordinary for an album like this.
Would be better if he wasn’t whispering about his pelvis
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.
Puh. Nicht mein Stil.
Really weird album. Not unpleasant, but doesn’t make sense to me. Really liked the song with Nick Cave.
3.5
Some of these start out kinda cool, but then the shitty drum loop starts and THEN he starts his pseudo-sultry spoken word shit. How in the world does it end up that seemingly 1/3 of alll 1001 albums I must hear before I die were all trip hop albums from the mid 90s? I think I’d rather die tbh
This is tough because some of this is so damn good. Experimental and timeless. And some songs have a very 90s time capsule production to them that makes it suck.
Not sure how I felt about this, middle of the road I suppose. There were parts that were ok, and then there were parts that were atrocious.
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.
A remarkably cool and eclectic album, which shows Adamson's ability to blend genres from across the spectrum in to one cohesive piece. There are elements of jazz, ambient, big band, electronica, and hip hop present across the whole album, and even single tracks. Vocals from Jarvis Cocker, Nick Cave, and Billy Mackenzie add a more accessible element to this (at times) rather avant-garde record. You'll even be treated to some trumpet parts written by Miles Davis, in the standout track of the album. It's conception as the soundtrack to an imaginary film encourages the listener to imagine the scenes to which the music is set. And with ambiguity and number of layers to each track, it's hard to think that each listen will evoke the same images. Highlights: Set the Controls for the Heart of the Pelvis Miles The Sweetest Embrace
mh nooooope
Self indulgent garbage. Might have been cheaper than therapy.
Aluksi vaikutti hyvältä mutta sitten taso hieman lässähti 2/5
Erittäin kiinnostava, kokeellinen ja miellyttävän jazzahtava levy. En ollut aiemmin kuullut, joten en ihan uskalla antaa vitosta mutta lähellä ollaan.
Good!
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.
Electronic-avant-garde-jazz fusion? The answer to a question I never would have asked.
The music was good. The weird "skit" tracks between were not
Strange album but cool and led to some nice recs.
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.
There’s a reason why I’ve never heard of this album…not good.
Some interesting variety, but it seems like Mr. Adam son was too focused on creating that variety instead of creating some good songs.
Eclectic mixtures of sound and rhythms. Interesting first listen.
I did not know what I was getting in to, but I went without a private session in Spotify. I had heard the mellow and groovy "Something Wicked This Way Comes" before, but can't say I knew it was Barry Adamson. I like this album, but don't know when I would put it on and listen to it. It's got some chill stuff, that you know, maybe put on when you are trying to set a romantic mood and then "It's Business as Usual" comes on and then instead of sex it turns into some murder-suicide pact.
cool moments
What a crazy album. I loved "Miles" but can't say I enjoyed much else.
Interesting concept. Really enjoyed the first half of the album but the second half fell flat.
Unfortunately I actually really enjoyed this album HOWEVER I do fear this guy wants to fuck his mom
What.
Very weird. Why is this in a top 1001 albums list?
++: Set the Controls for the Heart of the Pelvis, Something Wicked This Way Comes, It's Business as Usual +: The Vibes aint' Nothin' but the Vibes, Miles, Dirty Barry, The Big Bamboozle, The Sweetest Embrace, Set the Controls Again +-: In a Moment of Clarity, Achieved in the Valley of Dolls, State of Contraction -: Vermillion Kisses 7,6/10
Interesting mostly instrumental/jazz/electronic/experimental album reminiscent of Pink Floyd. It’s
Masterful usage of early 90s sampler/sequencer tech. But like most masters of that moment, without a gripping lead, you end up with a series of interesting but lifeless tracks. What's more, I find no coherence to the album. It's like a collection of background tracks from different films.
wtf is this? tonally all over the place. muzacky, jazzy electronica but mostly an incoherent mess.
Chaos of instruments and sounds and lyrics but I loved it.
starts out slow, but I enjoyed the later songs.
I don’t understand what I just listened to
Very strange but pretty interesting.
This is a wild, wild ride. I never knew what was coming next. Big band? Film soundtrack? Audio book? Honestly there was not once where I’d label this album boring. It is an acquired taste, though. I happened to enjoy it immensely but could just as easily understand if someone else found it utterly baffling. 4/5
Not sure about this one.
this one was really strange, with some truly bizarre cameos (atticus ross???). i laughed at the review that called it "a soundtrack for a movie that doesn't exist." true! while i didn't love all of it, and i can't really see myself regularly listening to it - especially the really bizarre spoke word tracks - it was certainly fresh and different, which i appreciated.
this was interesting and weird, but veered a little too far off the road for me personally. a lot of the songs felt very repetitive, though the genre exploration throughout the album was neat. definitely sounded like the soundtrack to a creepy psychological thriller movie at points, and i later saw in the Wikipedia article and reviews here that that was intentional. nice guest features here but i'd kind of prefer to just watch the movie this is supposed to be in than listen to these weird, disjointed songs on their own. favorites: set the controls for the heart of the pelvis, something wicked this way comes, state of contraction
Had not heard of this artist before, but did enjoy this album. So much is happening in it that is will probably take a few listens to really appreciate it. Lots of different styles melded together, such as jazz, trip-hop, French 60s style pop etc. A couple of tracks include Atticus Ross, Trent Reznor's regular collaborator. 4/5
Maybe the imaginary film would be great. The music album definitely isn´t for me. Gave it a few tries but I really can´t see the genius so many others see here. 🤷♂️ best: "Miles", "Achieved in the Valley in the Dolls", "The Sweetest Embrace" 2,5
This one was wild. Started absurd, then descended into terrifying madness, with lounge jazz interludes. This makes sense as a soundtrack, but it is most realized as a soundtrack into a schizophrenic oedipal breakdown. There were some cool tracks, but this is mostly just background music I'd put on for someone to leave. Although I might stick around with a cocktail and keep listening...
Najs, fyra starka
Not my favorite
3/10. Throughout I went from moments of "a little boring but I can vibe to this" to moments of "what in the hell is this creepy stuff"? Harsh, as I know others may see art in this, but it's overall not my thing.
A bit odd. Fine but unremarkable.
Some big hitters here. Didn't mind it at all, especially the Nick Cave track.
I'unno. As I'm writing this, it hasn't even been that long after I finished listening to this, and already I can't remember a second of how it sounds. Is that a critique of the album, or is it just me getting distracted and forgetting? Take your pick, I guess. Either way, I feel generous to slap this thing with a 3. There were enough spots I liked that prevent me from going lower—if only I could remember them.
As an American, this was one of those albums where, at the start, I was thinking to myself, "Who?". But once I sat down to listen to it, I really dug this one, asides from the darker tracks, but those help with the overall theme of "Music for a film that doesn't exist", so I'll give them a pass. 4.5 down to 4.
I’m at a 3.5 that I’ll bump down to a 3. I dunno, I just wasn’t super impressed, nor was I ever really disappointed. It’s supposed to be the soundtrack for a fictional movie, and I think it does a good job of showing some pretty strong diversity in its instrumentals, and providing the outline of some vague story. Really, the reason I can’t bump this up to a 4 is because I simply have no idea what the fuck that story is. This album tries to set up a general plotline on “The Vibes Ain't Nothin' but the Vibes”, before really nailing the urgency of the dialogue in “It’s Business As Usual” but I really can’t follow the plot after that. Seriously, why is there a Miles Davis tribute after that eerie-ass dialogue full of stalker stuff? It sounds excellent, but where is it in the plot? Why is “Vermillion Kisses” a medieval style storytelling moment of a sucker being born every minute to get killed by this princess? Is “State of Contraction” supposed to be about pregnancy and giving birth? After the stalker shit earlier and the literal dream of killing her husband or her lover or whatever? Are they ever actually in love by the end? Why do I care this much about a movie that will never exist and be a flimsy straight-to-DVD thriller at best? It is a good album though; I did like it, and I think it’s relatively inventive while nailing down the noir movie soundtrack it’s going for. A little long on a few tracks, and certainly not as atmospheric as an actual movie soundtrack would be, but pretty solid stuff here. Only a 3 for the utterly confusing “plot”, though.
This is background music at best. Why is it in this list?
Bailed early, unlistenable
This one was another surprise! Had never heard of this artist but loved how all over this place this was.
There's a lot to like about this album. It certainly beats the pants off Nilsson Schmilsson, which was recommended last week. There's a diverse range of music on offer that holds together as a singular work well. I enjoyed the contributions from Jarvis Cocker and Nick Cave too. My instinct, after a few listens, is to give it a 4. There's not much that stops it from getting a 5. Vermillion Kisses being the only duff track - a faintly misogynistic and twee story that adds nothing and deserves skipping on every listen after the first. I'll definitely be adding this to my rotation of albums and look for more by Barry.
New album for me. Very cinematic. A while ago I rated the other BA album as a 3, but afterwards did not listen to it anymore. Same as this one, but it certainly has its moments.
Atmospheric music with nice vocal guest contributions. Could be great for a movie but is a bit harder to appreciate as stand-alone.
Too all over the place. Happy marimba music, then creepy soundscape with voicemails. Not worth my time.
Kinda like a mix tape of modern ambient experimental jazz?
I really didn’t need to hear another of these “show tunes without the show” cabaret-adjacent albums and I’m starting to resent whoever thinks I do.
Can't wait for the movie to come out ...
Favourite part is the album name, haha. I feel like this album bounced all over different styles, it felt experimental. I liked the first 3 songs and then It's Business As Usual came around and killed all vibes. WTF was that. I liked Set The Controls... and The Big Bamboozle best. An eclectic mix of tracks, 3.5
Nick Cave was a true highlight...
2.5 stars. Super weird, all over the place. Anthemic and catchy beats but highly sexualized bookend tracks, creepy stalker story and odd fairytale story interludes, instrumental jazz-y soundtrack. It accomplishes getting in your head and eliciting some kind of psycho journey but I don't think I'll return to it.
I liked some of but hated parts too, its a weird and wild ride, the good is okay, but the bad is really poor
Interesting listen, appreciate hearing different stuff from this list. Will I listen to again: 50%
Feels like a soundtrack to about four different movies. I liked it more than many of the other side projects of people more famous for being in bigger name bands.
This is kind of like that LTJ Bukem album. Feels like a bunch of background music.
not for me
Wow - I’d never heard about this before today. I must confess that it’s really appealing. I love the textures, moods, rhythms, feelings in this album. Thank you for expanding my music knowledge!
Some good but also some bad. Ez 3
Mostly bad
Octopus Schadenfreude or something
Never heard of this artist or album but what an interesting collection of music. So diverse throughout. Ranging from buttery cocktail jazz to monologue to an intriguing poisoned fairy tale ending with Last Embrace. Written as a soundtrack for an imaginary film. Very creative. I really enjoyed it
Даже не дослушал. Заебало. Пускай дэвид линч слушает это
Never heard of this guy before. I read British and 90's and I was ready to be disappointed. But I have been pleasantly surprised. First 3 tracks are really enjoyable.There are a few tracks I would skip on future listens. But the laid back groovy stuff is good.
It is nice. Reminds me of a classy hotel lounge with fancy cocktails and a faintly citrus scent wafting in the air. Something Wicked This Way Comes is a tinkly delight and The Vibes is slightly spooky but listenable all the well. Oh but then it takes a dark turn with It's Business As Usual... yikes didn't see that coming. And then bounces back to Christmas shopping in a snowy city with Miles! I need a drink and a neck massage after this one.
Very interesting concept album with a film noir soundscape. Not sure it's anything exceptional but I love when people make concept albums for random stuff!
This was great, but I think a couple of the more trip hoppy numbers kind of made it drag a little. Otherwise, it was challenging, disturbing, and moody.
More 90s britrock bleh
Engaging dark and sometimes gothic kitch soundtrack stuff. Hard to categorize tbh. It is good though.