Adele: 30 (Colombia)
Verdict: Queen of Torture regains her throne
She wasn’t the one to hide her innermost emotions from the world – whether it’s the lyrics that shed tears on her millions of sales records or her recent confession television interview. Oprah Winfrey.
Now, as she discovers that when she releases her first album in six years, Adrian Thrill hears thirty in his sneak peek, Adele after divorce is an emotional dial of her music. Was raised again …
Adele doesn’t waste time putting cards on the table for the long-awaited fourth album. “I will bring flowers to the graveyard of my heart,” she declares on the opening line of the first track, Strangers by Nature. This is a romantic tier jar car adorned with electric pianos, delicate electronics and strings. “Oh, I hope someday I’ll learn to nurture what I’ve done.”
The message is clear: fans should support themselves in a secondary order of redemption and healing to help pile up heartache and guilt. The 30 is named after the time when Adele, now 33, wrote most of the songs. A rich, soulful and diverse tapestry of pop, R & B and jazz. A good audio system sounds great, but it’s a good idea to have Kleenex handy.
In a promotional blitz leading up to Friday’s release, the singer explained that the record was dealing with the cataclysm of her 2019 separation from her husband Simon Koneki and its impact on their 9-year-old son Angelo.
Adele is known for her openness, and in some places it’s as raw as the 2011 breakthrough hit Someone Like You.
Adele’s “Gram Corps” zips her into an Oscar de la Renta dress for a launch party
The twelve new songs are in stark contrast to her cheeky behind-the-scenes persona. In an interview, she can be irreverent. On record, she plays it straight, and her inner turmoil is not a laugh.
At the heart of all that, of course, is the dazzling blue-eyed soul voice, emotional and unobtrusive, and her wording is more impeccable here than ever before.
The album does not follow the arc of failed relationships with each blow. Its tone is more determined by its musical cut and thrust. It starts with three ballads before it becomes more uptempo. The period of jazz introspection continues before the finale to stop the show – dramatic love is a game – stamping its classic decline and flow.
Adele works with the familiar behind-the-scenes face. The six tracks have been created in collaboration with pianist and producer Greg Kurstin. The trampled Can I Get It – the moment of Rolling In The Deep on this album – sees her teaming up with Swedish producer Max Martin and his buddy Shellback.
But two new names also stand out. One is another Swede, Ludwig Goranson, a film music composer who co-authored the adorable opening track. The other is Inflo, a British R & B producer, who will appear later.
The opening ballad includes the recent single Easy On Me. This is a plea to understand the decision to end Adele’s marriage.
Another ballad, My Little Love, is one of the key songs here. In a 1970s-style soul number, in the form of a conversation between a single mother and her son, Adele explains the divorce from Angelo and seeks understanding and support.
“I really find it difficult to be here,” she sighed. “I know you feel lost, it’s my fault, completely … I’m sorry if what I did makes you sad.”
Immediately wary of having too many ballads, she raises the tempo. Despite its title and anxious lyrics-“When I wake up, I’m afraid of the idea that I’ll face that day”-Cry Your Heart Out is just right, clapping and high-pitched chorus. The point of injecting skip beats in a group.
The mood of Can I Get It and Oh My God is even brighter. The latter is a mid-tempo R & B number about the arrival of new love. “I know I’m wrong, but I just want to have fun.” Again, I’m reluctant to make a new full commit. “I want you to break the wall, but it’s still out of control since autumn.”
Drinking: Adele’s Cocktail-themed Album Release Party with Celebrity Friends in Los Angeles
She soon drowns in sadness again. Sung at the striking Gospel Soul Edge, I Drink Wine is not a noisy ode to drinking, but an early morning mourning. “When I was a kid, everything could blow my heart,” she sings with a mysterious sensation. “Soak it all for fun, but now I just soak the wine.”
Things turn more jazz with all-night parking (an interlude featuring the late American jazz musician Erroll Garner’s sample piano) before some big power ballads close the show.
Adele’s voice competing with her backing vocalist, called “Adele’s Crazy Friends,” begins slowly as the drums, bass, and organ enter the battle, quivering at the more intense tour force, Hold On. “I swear to God that I am such a mess,” she tells us.
She continues to hold spectacular and lasting notes at the end of To Be Loved. A discreet track co-authored by Adele with the amazing When We Were Young of 2015, with Canadian musician Tobias Jesso Jr. This song is too long for a Tottenham-born singer to spend in LA.
Drinks: Adele’s drink-themed album launch party menu
The album ends with Love Is A Game. With a number of magnificent souls, Adele admits that she is not approaching the solution of her romantic mystery. “My mind speaks with puzzles and chords, I’ve tried my entire life to solve,” she admits, her voice was once again supported by a big production. When she ad-libs her way towards the end of a number that lasts almost seven minutes, all that’s missing is canned applause.
So does 30 respond to hype? Some listeners may find it too self-absorbing. But Adele is a sensitive singer-songwriter and always wears her heart on her sleeve – and she does so by adding a whistle and bell here.
For me, it’s a barnstorming return. It may not be the “drum’n’bass record” that she joked about making in 2019, but it shows that she can sing blues in different styles. In the fall of the pop blockbuster, where the return of Abba and Ed Sheeran has already been seen, the Queen of Torture is back to regain her crown.
30 is out on Friday.
ADRIANT HRILLS secretly listens to Adele’s long-awaited new album
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