Name: Soul Murder
Brand: Barry Adamson

Bonus disc

Bonus disc: No

Catalogue number

CDSTUMM105

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Colour

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Format Music GB

Limited edition

Release date

2018-10-01

Signed copies

Signed copies: No

Supplier GB

PIAS

Tax rate GB

Standard:20

UPC / Barcode

Total Cap

1 / CD / Extended format: No / Rough Trade Exclusive: No / Signed copies: No

Artist

Barry Adamson

Genre GB

Alternative / Modern

Label GB

Mute

Barry Adamson, born on 11 June 1958 in Moss Side, Manchester, is a renowned artist and musician. He started his career as the bass player for the post-punk band *Magazine* from 1978 to 1982. Later, he became a founding member of *Nick Cave's Bad Seeds* in 1984. Since then, Barry Adamson has established himself as a solo artist with the release of his debut album "Moss Side Story" in 1989.

With an illustrious career spanning decades, Barry Adamson has carved out his own unique path in the music industry. His style and sound have influenced many artists such as *Mick Harvey*, *Angelo Badalamenti*, and *David Lynch*. Drawing inspiration from various genres including post-punk and experimental music, Adamson's work resonates with fans of bands like *Einstürzende Neubauten*, *Red Snapper*, and *The Young Gods*.

Barry Adamson's contributions to music extend beyond his solo career. His collaborations with other notable musicians such as Nick Cave's project *Grinderman* and his involvement with bands like Magazine demonstrate his versatility and talent. Fans of artists like *Tindersticks*, *Scott Walker*, and even iconic figures like Julian Cope will find themselves drawn to Barry Adamson's captivating compositions.

Please note, some Mute issues also carry an EMI logo. This is not a label and EMI should not be added as a label, it instead indicates that Mute was part of the EMI Group.

Founded in 1978 by [a=Daniel Miller], Mute (also known as [l36339]) releases various forms of music, with an emphasis on electronic and experimental pop. In May 2002 the label was acquired by the [l=EMI Group]. In 2010 Miller did an agreement with EMI to handle Mute as an independent label again, licensing the trademark from EMI via his company [l=Mute Artists Ltd.], but EMI kept the rights over Mute's back catalogue. After the EMI Group was dissolved, in 2012 [l206061] acquired [l636]'s back catalogue.

Branch offices exist in Germany ([l168349]) and in North America ([l36296]). 

Mute has spawned many regional and special-interest sublabels, some of which are still active. One offshoot, [l=Parallel Series], even became independent of [l636] Mute also operates Mute Bank Mail Order, which sells the label's merchandise directly to consumers. Mute Bank published two issues of [i]Mute Statement[/i], a softcover book that details the entire discography of the label and includes band profiles and photos of release artwork.

Another label strongly associated with Mute is [l=Toast Hawaii], run by [a=Depeche Mode]'s [a=Andrew Fletcher].

Label code: [b]LC 05834[/b] / [b]LC 5834[/b]

‘[b]P[/b]’, included to the catalog numbers,
generally stand for promo copies.
‘[b]L[/b]’, included to the catalog numbers,
generally stand for limited editions.

Released in 1992, Barry Adamson‘s second Mute Records album proper is also perhaps his darkest, most cinematic to date. Beginning as all stories should with a ‘Preface’, Adamson sets the scene of murder and crime with a sample of a convicted brother detailing his list of crimes and misdemeanours, before Adamson kicks in a short burst of dramatic strings; the track concludes with either a vintage movie sample, or a heavily-aged new one – ‘Sorry to disturb you Mr Adamson.’ The album begins in earnest with a classic Adamson spoken word monologue on ‘Split’, referring to himself as El Deludo, Mr Moss Side Gory and Harry Pendulum, all over a lush jazz backdrop dripping with pianos, brshed cymbals and rousing horns. ‘There’s a light at the end of the tunnel,’ concludes Pendle. ‘When you see it that means that you’re dead.’ ‘The Violation Of Expectation’ is mysterious and beautiful – simple piano clusters over synth chords and a characteristic pallette of juxtaposed sounds. The introduction of a watery, distorted voice humming away to some unrecognisable tune runs a chill through this track that is partially leavened by the isolated sounds of crashing waves that conclude the track. ‘Suspicion’ features some solid Public Enemy-style gritty, industrial hip-hop beats, over which high octave keyboard melodies are layered.

Soul Murder

Music GB