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How nice to be able to use again the term Pop talking about an album. No denying that in recent years in saying "pop" there was always the real risk of associating the word of mediocre music. The return of Adele first need to restore dignity to a genre that level mainstream was flattened on a standard of productions we made identical to each other, and with very little space left to variations on the theme. Something beautiful in the great melting pot of pop has also heard lately, but especially in the independent (and even there the desire to go out of the sow is little). Not that Adele can define an innovator, but it is at least in having the strength (more than the courage) to discard much of what the music industry today propina via radio less and less willing to risk. For the rest Adele does not waive his taste amazingly and wonderfully retro.
For the great day of 25 is in fact arrived. And the new album Adele you can deal with a double spirit. To many, possibly all, it will naturally be tempted to compare it to previous 21. Only that most will do so with an approach "commercial" rather than with the idea to see if and what kind of artistic evolution entails. It is obvious to think about the tens of millions of copies sold since disk Someone Like You. And it is equally obvious that we have also thought of the producers of this new album, and the same Adele. But there is a big difference between thinking "only" and think "well" to sales. Here, you should try to listen to the songs and just 25 thinking the music of 21. I add that I personally consider 21 a disc overrated. Let's be clear: it is a good album, which contains some of the best hits of the last decade, but that does not make it any the most beautiful album of the last decade, and even one of the ten most beautiful. With 21 it just happened that nobody expected: he sold one scatafascio of copies and then you are no longer able (or willing) to listen without thinking about all that money (and hence criticism and praise were apart). Without this clarification due, although it will be for sales and impact the record of the year, at a first hearing 25 it does not seem the most beautiful album of 2015. But this is still a wonderful album, much better than 21. Especially in his consistency.
The opening know it all already. And, I will say now, Hello is the song on the album that more recalls Someone Like You, the last of 21. In other words: we start from where we left off. But also via the tooth away the pain, I do now what you seek. But as in 21 the second song in the lineup at once marks a clear break from the first: Send My Love (To Your New Lover) like a lot, but could also turn up your nose at someone. Because it reminds a lot of the atmosphere of Single Ladies (Put a Ring on It) Beyoncé. Will in any case a bomb, with the refrain that enters your head and leads Adele territories in more purely pop (Two thousand years). But now I Miss You Adele gives us a moving in a more classically its territory. While When We Were Young, the second song that the singer wanted to listen to the world, it has the amazing ability to sound out a song from the fifties, yet not at all old. With Remedy we pass to a song in which the voice of Adele is unique protagonist, next to the piano that accompanies it with a melody very pleasant, as a whole is a piece rather obvious. But this says a lot about the level of the album.
Water Under The Bridge hit between the hits of this record, maybe even more of Hello. It is a bomb ready to explode in the chart. And there will come out from the head. There is nothing else to say. Put your mind at rest. With River Lea continue on the line of a pop of class, with contemporary contaminations for rhythm and use of choirs and synth after the attack that has more of a debt to the gospel tradition. It remains perhaps the best song on the album, with that voice that you do not understand where it comes from. It is the perfect synthesis between the Adele Someone Like You and the more pop. Who knows how they did it. Choirs in closing the open plan and the arches of the next track. It can be said that Love In The Dark is a Remedy with more bite, while immediately after the Million Years Ago is the other side of When We Were Young, but with certain reflections of French song, from Yves Montand, Edith Piaf. All I Ask is poignant, yet another love song to cry. Then get to the closure Sweetest Devotion.
It must be the goal of Adele put songs strongest closing (the aforementioned Someone Like You in 21). The attack Sweetest Devotion has echoes of U2, but then changes immediately thanks to a plucked guitar that set the plan creates a Celtic to Caribbean Blue Enya to accompany the voice of Adele in a chorus of immediate impact. A perfect closure for an album of the highest level, where even less perfect songs (you can not talk less beautiful, because it would seem to belittle) will find admirers, because as a whole the disc manages the incredible result of being able to please an audience vast audience without being fragmented or too heterogeneous. Impressive, besides the quality of the songs, the production work that is the foundation of what will probably be the biggest hit of the next years.
Small final point: we are always complaining that the pop songs talk too much love and too little of others feelings / situations. The new album by Adele contains love songs. But raise your hand if you will complain.
