- Critic score
- Publication
- By date
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MojoYou have wit, wisdom, and yet another Adamson sonic script you wish someone would film. [Oct 2002, p.100]
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For sixty-two glorious minutes, Barry Adamson can add a little danger, a little glamor and a little seamy excess to your humdrum existence.
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This variety is what makes The King of Nothing Hill so enjoyable -- it revels in being both fun and furious.
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Adamson lives in a dream and his music is a delicious trip through time.
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Adamson isn't above mixing wacca-chika guitars with soaring strings and following it up with haunting instrumentals, and unlike some odd hybrids on former releases, this disc pulls most of it off quite well.
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A unique, gripping listen that's certainly not for everyone, but manages to carve out an appealing niche for itself.
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MagnetSeems a transitional work connecting As Above to the future. [#56, p.78]
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MixerHe has come into his own as a tech-savvy songwriter who can make the sampled-bits, live horn sections and real string arrangements speak for him, not louder than him. [Nov 2002, p.79]
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Ten tracks that play out like a joint venture between Shaft and David Bowie's Thin White Duke.
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'The King Of Nothing Hill' manages to effortlessly stir a Trans Atlantic cauldron of retro flavours, sleazy soul, avant-garde darkness, soundtrack cool, breaks, head nodding jazz sophistication and electronica sus.