Barry Adamson is playing quite the "jazz devil" on
As Above, So Below. The album sees the dark noir guru taking a detour from the more experimental electronica of
Oedipus Schmoedipus into a cool, brutal concept album of aggressive, ominous rock-jazz. It seems that a great deal of
Nick Cave's cinematic themes have rubbed off on
Adamson from his days as a
Bad Seed. Where
Cave deals mostly with vampiric goth ballads,
Adamson creates his art under a moody, effective jazz noir cloud. Many of the songs shuffle about with a determined sense of cool, as
Adamson utilizes deep crooning vocals; he often sounds remarkably like a more sane
Nick Cave, especially on "Come Hell or High Water." Perhaps
Adamson's work on
David Lynch's Lost Highway soundtrack inspired the tales of dead detectives and shady women detailed on
As Above, So Below. One can easily imagine these songs coming from a younger, rocking, and more sinister
Angelo Badalamenti, a frequent
Lynch collaborator. The album's high points include "Can't Get Loose," "Still I Rise," and "The Monkey Speaks His Mind." "Can't Get Loose" sees
Adamson cooly cooing over keyboards reminiscent of
New Order, with a fun, suave xylophone sound and a sample of "Can't Get Used to Losing You" by legendary songwriters
Doc Pomus and
Mort Shuman. The song operates under a pleasant, humorous atmosphere, while still displaying ample doses of
Adamson's warped, dark vibes. "Still I Rise" is monumentally cool.
Adamson sounds quite angry and defensive, sing-screaming "still I rise" repeatedly, alternating that mantra with verses of autobiographical, stream-of-consciousness lyrics. The final cry is as punishing and entertaining as it is crass.
Barry Adamson has yet to release an album that isn't entirely compelling.
As Above, So Below is a strong, winning mix of style, emotion, and rock-jazz noir power. It's a bold, satisfying vision from an artist who shows no fear in expressing the seedier sides of life. ~ Tim DiGravina