★ ★ ★ ★ out of 5
No one's star power is brighter or more encompassing than that of British singer-songwriter Adele.
After bursting onto the music scene as a lonely teenager in 2008 with the soulful 19, she was quickly catapulted into "icon" status with the release of 21, a six-time GRAMMY Award recipient that eventually went on to sell over 30 million copies worldwide and earn three number one hits, including the groundbreaking "Rolling In The Deep" and "Someone Like You".
Following a three-year absence, securing an Oscar for Bond theme song "Skyfall", and becoming a mother and wife, the powerhouse vocalist returns with the long-awaited 25, her supposedly final age-themed album. To say the 11-track effort is highly anticipated would be an understatement. Adele's third album is expected to smash records, sell over 2 million copies in its first week and is preceded by "Hello", a lead single that debuted at number one and sold over one million copies upon its release.
There's no denying that Adele holds the reigns of one of the greatest voices of this generation, it made ears immediately perk up seven years ago. While her previous effort showed the artist dealing with immense heartache and despair, she seems to be embracing the happiness in life this time around, as she waits around and wonders what's next. While not perfect, or immediately engaging as past releases, the album will please devoted fans and continue the artist's unstoppable winning streak.
Opening the album with "Hello" is clever. It is another dramatic, chilling and over-the-top traditional ballad that finds Adele trying to make peace for mistakes she might have made during a previous relationship, using her trademark, tear-inducing vocal delivery. Following a simple introduction, the artist gives a sense of mixed, raw emotions as she struggles to move forward. While she was happy to express her subtle anger on her last album, it seems she's ready to admit her wrongs with a wiser overall perspective.
Though it comes with a slightly more subtle, uptempo beat, there's no denying the hints of producer Max Martin heard on "Send My Love (To Your New Lover)". While the change in pace, tone and topic is welcomed and commendable, the overall vibe is an awkward sound to pair with Adele's moody demeanor. The kiss-off track has the same structure as a Taylor Swift leftover, and while many wanted the artist to step outside her comfort zone, it's not an effective step forward.
"I Miss You" draws influences from the 80s, with pounding drums, as the artist sings of finding herself at the beginning of a blossoming, unpredictable relationship. With her big, bold and emotive vocals, Adele creates a cinematic space to express her new found feelings. "I miss you when the lights go out, it illuminates all of my doubts, pull me in, hold me tight, don't let go, baby give me light," she belts of the song's captivating chorus. It's new, exciting, sultry, a sound we don't get from Adele too often.
There seemed to be something a bit off about the "live" version of "When We Were Young" when it was released prior to the album. It's clear now, the "live" performance and studio version are the same. Instead of dwelling on a broken heart, Adele looks back at the fond memories made with a former lover, before ultimately getting angry about her youth slowly slipping away. The drama and intrigue are intact, the background vocals are a nice touch, something's just missing.
With the help of Ryan Tedder ("Rumour Has It"), the warmth of close, personal relationships is felt on single ready "Remedy", a track that showcases Adele's power as a vocalist. Though it highlights it's "paint-by-pop-numbers" formula, the artist is able to maintain control of her emotional performance, while still being able to hit every note with perfect execution. Seemingly inspired by her husband and son, the artist makes it clear that no obstacle will keep her away. Touching and surprisingly real.
Adele goes for an arena-ready smash on "Water Under the Bridge", a grand, anthemic ballad that almost achieves its goal. With a radio-tailored formula, a catchy hook that will have any listener trying belting along, the supporting production on the track steals the spotlight. However, with a weak pre-chorus and uneventful build up, the future single contender ultimately winds up as a missed opportunity. In pieces, it works, but as a whole, a lot is left desired.
If there was any other track on the album that gave an as dramatic, glorious, narrative peek into Adele's life as the lead single did, it would be "River Lea", an exhilarating homage to the artist's hometown roots. There's a sense of pride heard in the solid vocal performance as the soulful, church-going effort progresses."But it's in my roots, in my veins. it's in my blood and I stain every heart that I use to heal the pain," Adele sings on the track's convincing and shining chorus.
Piano keys and violin strings have never sounded so gloomy, warning of oncoming anguish, as they do on the intro of "Love In The Dark". Adele warns her lover to stay away, she makes it clear there's no love in the relationship anymore, and gets every emotion across with a soaring, heart-shattering performances that would recall many of the show-stopping moments found on 21. In an unexpected move, the artist lets all the instrumentals do the heavy lifting, taking a step back into the shadows. Strange yet effective.
The simplicity of the guitar-driven "Million Years Ago" highlights the pain felt from the artist as she admits to mistakes made in the past. Regret is at the forefront of the effort. What the track lacks in terms of songwriting and complexity, is made up by the conviction of Adele's agonizing performance, one that could easily become a contender for numerous awards as the months progress. The album is sometimes weighed down by collaborators, it's nice to hear Adele can still do it on her own.
"All I Ask" is a decent, emotional ballad that may lose some of its power due to the amount of sentimental, soppy ballads that crowd the track list. Written by Bruno Mars, Adele wonders what would happened if she could never move on from a former love. "If this is my last night with you, hold me like I'm more than just a friend, give me a memory I can use," she pleads on the song's piano-driven chorus. A good cut that turns splendid during its final minute.
The album closes out with "Sweetest Devotion", a song detailing an new-found, endless love that Adele had difficulty finding. It's that slight sense of happiness, finding light at the end of a long tunnel, that allows the song to become something new and refreshing. The subtle, country-sounding influences are enjoyable, they could be a hint of what's to come for Adele, as she ends her journey on a joyous high note, no longer needing heartbreak to write a meaningful tear-jerker.
25 is a good, strong and meaningful album, not doubt about it, but is it truly deserving of 2 million sales in its first week, over 10 million sales in the long haul, or the countless records it's to shatter in the months to come? Not quite. It feels many publications have prematurely reviewed the album, falling back on the artist's image, not on the music itself. Adele is a powerful, convincing vocalist, we already knew that. She's able to convey not only what she is feeling, but what everyone who listens to her records feel as well. While her last blockbuster focused on the drama, tears and break-ups, her third studio album finds the artists maturing, willing to take responsibility for her actions, while looking forward to what life still has in store for her. The album is reflective, it's personal, and yes, it's sad, but the music has lost its spark. The tracks are a little too perfectly structured, there are a few too many hands in the mix, and it's unfortunately lost the wow factor that made the artist a rising star. Is it worth the wait? To some, of course. But you can't help but feel anyone could have tackled these tracks with the same deserving success.
Tracks to Hear: "Hello", "I Miss You", "River Lea", "Love In The Dark", and "Million Years Ago"
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