by Thom Jurek
Throughout his solo career, Barry Adamson has relentlessly pursued a muse that appeared on his first full-length solo offering, Moss Side Story, released in 1989 -- six full years before David Holmes' This Film's Crap, Let's Slash the Seats. At that time, Adamson began composing and recording his influential "soundtrack in search of a film" strategy. He's composed scores for a number of cinematic works as well; most notably David Lynch's Lost Highway. Adamson's seven previous full-lengths approached notions of noir, lounge, rock, funk, soul-jazz, and blues, with a gleefully morose, playfully grotesque, and comic book-like sense of violence, in a new mythology. With 2006's Stranger on the Sofa, Adamson took to handling many instrumental and sound sculpting responsibilities without much help. Back to the Cat is, in some ways a full-circle return to the motivating factors behind Moss Side Story -- named for the violent part of Manchester he grew up in -- and the EP that preceded it, The Man with the Golden Arm. The previous records were both deeply referential composed works indulging cinematic obsessions Adamson has held all his life. Here, he gathers those experiences as a composer, and adds the depth and breadth of an accomplished songwriter as well. Here, Adamson plays a slew of instruments, does most of the arrangements, and produces, creates, and edits his own samples. He also recruited some excellent help: a four-piece horn section, and a rhythm section with Nick Plytas on B-3 and piano, bassist Iain Ross, and swinging drummer Johnny Machin.Back to the Cat is a collection of delightfully sleazy songs and interludes that meld lounge jazz, Rat Pack pop, roots rock, and spy movie/noir thriller film themes. We get to accompany his protagonists through an aural cinema comprised of obsessive yet likeable if odious archetypes: guttersnipe hustlers, spies, junkies, sexual predators, victims, and musical, literary, and cultural heroes.... Read More...