Moodier and subtler than some of Barry's previous work, As above So below is a sort of musical examination of good and evil within the Self -- kind of an Id/Ego Cabaret. This is Noir jazz ballad turf, carried by Adamson's basso vocals, spouting lyrical conflicts between angels and devils, rife with supplication and peppered with iniquity. The pure storytelling of "Come Hell or High Water" fulfills all the promise of Barry's film soundtrack ventures -- indeed, on the basis of the songs here, can an Adamson-penned musical be far away? Likewise, "Jazz Devil" is an archetypal Adamson travelogue through the seamier side of life, distantly abetted by Hammond Organ, Fender Rhodes and a host of other instruments. On the bristling, dense "Still I Rise", sampled hip-hop beats and squalling guitars combine with Adamson's half-shouted vocal (in which he manages to name-check his entire back catalog), creating a mood of overt confrontation and anger. As above... lives much of its sonic life in the lower register -- a subwoofer and higher volume is almost essential for the full effect, as a few tracks (like the cover of Suicide's "Girl") will slip right past you on poor speakers, and that's something you absolutely can't allow to happen. While Adamson's earlier albums dealt with similar elements, they did so in a clinical "wide shot" style; here, Adamson is in close-up, and his heightened emotional connection to the music gives it far greater scope. Some day, this guy will be remembered as one of the era's foremost composers.
Barry Adamson As above So below Mute CD
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