As Above, So Below [Explicit Lyrics]

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Editorial Reviews

All Music Guide - Tim DiGravina
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 ...
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Editorial Reviews

All Music Guide - Tim DiGravina
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.
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Product Details

  • Release Date: 6/23/1998
  • Label: Mute U.S.
  • UPC: 724596903520
  • Catalog Number: 9035
  • Sales rank: 148,923

Tracks

Disc 1
  1. 1 Can't Get Loose (5:26)
  2. 2 What It Means (3:59)
  3. 3 Déjà Voodoo (4:24)
  4. 4 Come Hell or High Water (5:29)
  5. 5 Jazz Devil (5:06)
  6. 6 Still I Rise (2:17)
  7. 7 Girl (4:46)
  8. 8 The Monkey Speaks His Mind (5:31)
  9. 9 Goddess of Love (3:09)
  10. 10 Jesus Wept (7:18)
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Album Credits

Performance Credits
Barry Adamson Primary Artist, Bass, Guitar, Vocals
Seamus Beachen Hammond Synth
Flood Theremin
Henry Olsen Bass
Adrian Lane Trombone
Claudia Sarne Background Vocals
Malcolm Ross Guitar
Tim Weller Drums
Mike Lovatt Trumpet
Pete Whyman Saxophone
Technical Credits
Barry Adamson Programming, Producer, Brass Arrangment, Instrumentation
Intro Art Direction
Roland Brown Contributor
Flood Producer, Instrumentation
Roger Johnson Contributor
Daniel Miller Executive Producer
Atticus Ross Programming, Producer
Deptford Dave Engineer
Marcus Salisbury Contributor
Mandy Parnell Mastering
Ebby Acquah Contributor
Michael Bracewell Liner Notes
Shaun Connon Contributor
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Customer Reviews

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    Posted December 16, 2008

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