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| City Sonic Invention |
So begins a rapid descent into the viral underbelly of a city gone to grime; a dystopia fuelled by fear, regret, and the shattered dreams of lost, damaged souls fulfilling macabre ends.
Moss Side Story chronicles this narrative through a brilliantly orchestrated score. Spanning grimy ambient, beat-driven electronica, high tension strings, disembodied screams and sonic city detritus, this soundtrack chills your spine.
Just like Badawi's The Unspeakable and John Zorn's Spillane, Moss Side Story uses a wide tonal palette from the orchestral to the sublime. A broad mixture of styles and sounds - 'spy' music, broadcast transmissions, r&b, big beat dirges, funereal vamps - presents the listener with a kaleidoscope of ear candy.
A nod to an earlier era of film noir, 'Sounds of the Big House,' could comfortably fit into any imaginary bordello, what with blues-tinged Hammond organ and distorted drum machine patterns. The inner-city blues vibes continue on 'Suck on the Honey of Love', a track featuring last-call bar piano coupled with boozy choir fills.
Like all those who compose soundtracks without a film, Adamson excels at keeping the narrative tight and compelling through careful, logical edits that help rivet the listener's attention span. Take 'Auto Destruction', a fine collage of flanged guitar, crashing orchestral chimes and squalling saxophone, all underpinned by metallic percussion.
The cartoonish 'The Most Beautiful Girl in the World' reminds one of those furious Warner Brothers soundtracks by Carl Stalling, complete with hyper string passages and sappy refrains. Indeed, Moss Side Story owes a debt to that legend and the films of David Lynch, which gives it a contemporary feel that's almost timeless.
Dive into this small masterpiece here.
Moss Side Story chronicles this narrative through a brilliantly orchestrated score. Spanning grimy ambient, beat-driven electronica, high tension strings, disembodied screams and sonic city detritus, this soundtrack chills your spine.
Just like Badawi's The Unspeakable and John Zorn's Spillane, Moss Side Story uses a wide tonal palette from the orchestral to the sublime. A broad mixture of styles and sounds - 'spy' music, broadcast transmissions, r&b, big beat dirges, funereal vamps - presents the listener with a kaleidoscope of ear candy.
A nod to an earlier era of film noir, 'Sounds of the Big House,' could comfortably fit into any imaginary bordello, what with blues-tinged Hammond organ and distorted drum machine patterns. The inner-city blues vibes continue on 'Suck on the Honey of Love', a track featuring last-call bar piano coupled with boozy choir fills.
Like all those who compose soundtracks without a film, Adamson excels at keeping the narrative tight and compelling through careful, logical edits that help rivet the listener's attention span. Take 'Auto Destruction', a fine collage of flanged guitar, crashing orchestral chimes and squalling saxophone, all underpinned by metallic percussion.
The cartoonish 'The Most Beautiful Girl in the World' reminds one of those furious Warner Brothers soundtracks by Carl Stalling, complete with hyper string passages and sappy refrains. Indeed, Moss Side Story owes a debt to that legend and the films of David Lynch, which gives it a contemporary feel that's almost timeless.
Dive into this small masterpiece here.
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