“Things get mighty murky on Back to the Cat, which finds Adamson lurking halfway between the gutter and the neon. It’s a shirk away from the sick caricatures in search of a soundtrack aesthetic played out on many of his past albums. If Wayne Newton is playing at the Stardust, Adamson is across town at the dive bar with all the down-and-out losers just cashing out on their way to a cheap motel after pawning away their hopes and dreams. It’s probably safe to assume that somewhere in Frank Miller and Robert Rodriguez’s fictional universe of Sin City, the collected works of Barry Adamson are constantly playing. Beneath his cartoon martini lounge jazz-pop lies an openly repressed depravity. His icy exteriors are so slick and cynically confident that you can picture them inhabited by a world rendered only in black and white, eternally clouded by the smoking embers of a seemingly endless supply of discarded cigarette butts.” – Pop Matters

“If there’s a common thread to what Barry Adamson has brought to music over the last 30 years, it’s a sense of drama. Stylistically, he’s all over the place – Back to the Cat, like the last few, ranges between jazzy IDM and ornate pop productions. He can’t resist adding layers, be it a layer of sound, a shade of meaning or a musical reference. That’s the conundrum of his work – he makes background music that demands close listening. Maybe that’s why he hasn’t gotten more work doing actual Hollywood soundtracks. Naturally, David Lynch has taken advantage of his work. The two share a knack for making sunshine as unnerving as the shadows.” – Dusted Magazine