One of the great post-punk survivors, Barry Adamson has transformed himself over the years from an 18-year-old bassist who could hardly play (in the spirit of punk, of course) to a highly regarded soundtrack composer, remixer, songwriter and multi-instrumentalist, and on-off member of first The Birthday Party, and then Nick Cave & The Bad Seeds. He also decided to move to Brighton a few years ago, adding very nicely to the wonderfully alternative and independent cultural life we are blessed with.

Still somewhat under the radar, Adamson has nevertheless carved out a career for himself, all the while constantly adding to his arts portfolio. Film making has long been a big part of his life (indeed he is a patron of Brighton's film festival Cine City), and more recently photography has taken a hold, to the extent that much of Know Where To Run is informed by the photographs he took while touring the States last year with The Bad Seeds. The vinyl and CD versions of the new album both feature beautiful photographs, and he's hoping to make a larger book available in the near term, as well as maybe an exhibition or two.

His debut solo album of 1988, Moss Side Story, was a imaginary pulp-fictiony soundtrack to a non-existent film and, 28 years later, Know Where To Run follows a similar path, albeit this time based on a mixture of songs and stories inspired by those aforementioned photographs, as well as real-life incidents, in this so-called 'Americana travelogue'. With a brightly lit 'exit' sign (similar in style and spirit to the pioneering work of William Eggleston) the focus of the album sleeve, in design and sound Know Where To Run entices the listener to enter and see where and how the mystery unfolds.

Opening with a repeating church organ refrain before a John Carpenter-esque horror synth comes in with discombobulated voices, this instrumental track (‘In Other Worlds’) then sees Adamson's trademark grooving drum and bass jazz beats take over for a pulsing finale. And from here on in it's an eclectic journey through bad-ass groove-laden jazz, swamp-blues, psychedelic soul-blues and filmic soundtracks, a al Ennio Morricone, Henry Mancini and John Barry, with detours along the way such as the vaguely Nick Cave-esque country flavours and string laden ‘Come Away’, along with the macabre and cacophonic, episodic instrumental ‘Texas Crash’ – based on a real life incident Adamson and the Bad Seeds were witness to whilst on tour – and the old school crooner charm of ‘Claw and Wing’.

A brilliant arranger and sonic soundsmith, as well as possessor of a deep vocal purr, Adamson is on musical fire on a number of tracks here, including the groove-infested ‘Death Takes A Holiday’, a wicked ride of a song that takes in crazy organ licks, 60s lounge vibes, trumpet, and all of course riding on that distinct bass sound he made his own back in the Magazine days. And then there's the playful Pulp Fiction vibe of ‘Cine City’, named possibly in honour of his love of film and his association with Brighton's own Cine City film festival, and ‘Up In The Air’, a track that takes off from the hard rhythms of an electric guitar, into another thrilling ride, a song wholly fit for the open road.

From Magazine bassist to Renaissance Man. Not bad for the comic reading boy from Moss Side.
Jeff Hemmings

Website: barryadamson.com