Whereas by millions of fans, speculating on record sales, the new album of the pop queen, hyper-calibrated, will reassure everyone and disappoint some. The voice is there, but the songs?
In the life of Adele Adkins, five years of silence weighed more than others an entire career. While his voice is emitted intermittently and most of all, the album 21 , the second flowed to peak at 30 million copies. This monstrous success for fixed following the irrational goal. Enough to feed more hesitation. In a rare interview, the singer candidly confessed that she almost all quit for good. What reassures a little on his humanity, but could of course stop the machine.
This is indeed what it is with 25 new anticipated album as Arlesienne by millions of fans. Adele’s voice and the machine around. The one with the other, one against the other, a fatal brawl at the end with a generally smooth product and moments torn, even heartbreaking. The voice before, always. That is the watchword, it was shared by eight different producers, flanked by twenty sound engineers, working in a dozen studios. Délirante armada for precision mechanics whose first album is supposed to give the news.
From that side it’s okay, thank you. The voice did not move. She begins by saying Hello , and passed the time one wonders whether it would not be the remake of a saw Lionel Richie, deploys a demonstration of big pop effective and predictable. Adele from the beginning made in the classic. Renew without innovate is to build on the songs. Failing to elicit an inspired writing such a unique voice as hers can give what she has. It is the relative failure of 25 . The formula producer credited with the composition of the song that “sponsor” has been extended in almost all cases, without knowing which amounts to Adele and more texts – where one learns that don ‘ no rich as problems, but also friends, loves, shit, and ex cumbersome. Regrets, hopes, secrets. But where are the great melodies that sublimeraient this ordinary?
If Adele staff really believed that Tobias Jesso Jr was a genius songwriter, “When we were young” allows . to doubt
Everything leaves a bit too see: the tube attempt ( Water under the bridge ), not clumsy side ( Send my love (to your lover) would be funny and smart by Lily Allen), the frantic counting ( Miss you ). Three piano ballads invariably end up seeking the voice that époumonne last resort. The contribution of very “hip” Danger Mouse ( River Lea ) does not exceed the gusto of a gospel choir and if Adele staff really believed that Tobias Jesso Jr was a genius songwriter, When we were young to doubt it.
Adele was perhaps the wrong time, and it’s not his fault. When she does fly, it is pecking his guitar on a nostalgic and almost obsolete air: Million years ago , you would think an old-fashioned pleasure borrowed from Charles Aznavour 60s – when Dusty Springfield broke divinely voice on Yesterday When I Was young . Well, the cover album is certainly not the solution. But if the next time (before five years?) The great voice of Adele could be served more consistent compositions, one does not complain.
This course is wishful thinking. They would have us believe that the world is divided into two: the worshipers prostrate before the queen, and those who flee and stopped their ears. These two categories have nothing to fear from 25 , their program will be respected. Can we venture there an in-between? Just imagine the case of a guy who, discovering 19 after 21 , was overthrown by Chasing pavements provided by Rolling in the Deep , and messed with Melt My Heart to Stone more than Someone like you . Well this one, in the middle of the long universal expectation, was almost hoped that the next album is called 17 . An eventuality that moves away more and more, but you never know if Adele escapes to the machine one day …
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