With
As Above, So Below
,
Barry Adamson
took a detour from the soundscape work that comprised much of his early solo catalog. It was more conventional sounding than anything he had written prior, and with production help from
Flood
, the album's seedy undertones and gritty seduction were given center stage. With
The King of Nothing Hill
, he continues where
As Above
left off -- seamlessly blending
funk
jazz
rock
disco
, and '60s
French pop
while swapping street tales with the listener. It's apparent on tracks like the
-fueled
"Cinematic Soul,"
the trippy
"Twisted Smile,"
and the intense
"When Darkness Calls"
that
Adamson
can evoke a variety of feelings in any one of a number of musical styles. He's as convincing when vividly painting a crime scene as when he becomes "Satisfaction Jackson" in an attempt to seduce his prey. He occasionally dips into his soundtrack roots on tracks like the murky
"Le Matin des Noire"
and
"The Second Stain,"
but when he does, he maintains the continuity of the album. This variety is what makes
so enjoyable -- it revels in being both fun and furious. Whether he's talking about love or the streets, there's usually a clever hint of irony present.
is blatant when he needs to be, but gets his point across most effectively when using metaphors.
is his first album of all-new material since 1998's
. Although he released a best-of in 1999,
's fans grew eager as rumors of a new album began to surface. With its sonically rich textures and ultra-smooth vibe,
was well worth the wait. ~ Don Kline