Track 3 - Central Control.

3: Central Control

SiberianPrincess’sMidriff wrote:

Both too much and not enough going on at the same time.

Pretty accurate assessment I'd say.

I can really see Adamson and sundry spending yonks at the mixing desk twiddling and a-fiddling around with all kn*bs and slidey switches...

I thought so too.

Track 4 - Round Up The Usual Suspects.

Is that a vibramaphone?

Track 5 - Sounds from The Big House.

Nightjar wrote:

I can really see Adamson and sundry spending yonks at the mixing desk twiddling and a-fiddling around with all kn*bs and slidey switches...

Like, for way way too long.

Like, their kids kept saying "Mummy, where's Daddy, we haven't seen him for months".

Snare drums through a Fairlight?

Sax.

This one's very Lynchian/Badalamenti.

Yeah, there was a thing in the 90s for "soundtracks for a never made film".

Which usually meant Portishead rip off.

Getting quite Foetusy.

So it's sorta ahead of the times. But…

SiberianPrincess’sMidriff wrote:

Yeah, there was a thing in the 90s for "soundtracks for a never made film".

Which usually meant Portishead rip off.

Quote :

In a 2017 interview, Adamson reported that he recorded Moss Side Story due to his fascination with film music and as "a calling card [to] send it around to people" in hopes of being hired to write music for actual films

I guess that this album is an accurate representation of the concept of 'postmodern'.

Track 6 - Suck On The Honey of Love.

Nightjar wrote:

I guess that this album is an accurate representation of the concept of 'postmodern'.

About as fashionable today as Jean Baudrillard.

Clear debt to I Put a Spell on You.