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Special Event: atrlcritic | Ed Sheeran's new songs after the upgrade
Member Since: 8/19/2013
Posts: 96
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We need Purpose 
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Member Since: 4/22/2012
Posts: 33,490
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Quote:
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Originally posted by holyground
Or perhaps it shows that she is delirious about the music she should and is capable of making.
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 so true though.
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Member Since: 8/19/2013
Posts: 19,167
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"GET WEIRD"
LITTLE MIX
Before starting this, I must say that although I love Little Mix, I've only listened to their singles before and this is the first time I've listened to their full album.
. 1. Black Magic: This is truly a grower, I don't like this at first but then it turns out really good, however, I still think the album should open with a strong and more powerful track. 8.5/10
. 2. Love Me Like You: I love it, usually in a song, I judge the rhythm, the lyrics, the production, and this nails everything. 10/10
. 3. Weird People: This is just weird, it's a song that you think it'd be bad, but then the chorus screams smash. 9.5/10
. 4. Secret Love Song (featuring. Jason Derulo) : Is is just me or Jason actually doesn't fit in ballads ? Even though I love how emotional Little Mix is, I just can't deal with Jason Derulo in this track, expect a little bit more. 8/10
. 5. Hair: An okay track, they rely on the instrument a little bit. Also, I'm not a fan of the last part which is them chatting and saying "Yeah". 7.5/10
. 6. Grown : THIS.IS.THE.ONE. A second and improved version of "Wings" and this is really good. I first saw many praises for this and though it was a little bit overrated but nope, a really perfect track. 10/10
. 7. I Love You : A slow track. Although it sounds a little bit boring, the chorus really shines and impressive. 9/10
. 8. OMG: This exceeds my expectation, everything in this song, the verse, the bridge, the chorus are all perfect. This sounds a little bit like "Pretty Girls", but way better. 10/10
. 9. Lightning : I think they're a little bit greedy with this track, they know that they could deliver the songs easily with dance & upbeat tracks so between the verse they go with the electronic music, and yes, it's the only great part. 7.5/10
. 10. A.D.I.D.A.S : I love the throwback vibe in this song and how sexy is the song. However, the song is repetitive and that's definitely not the way a song should end. 7/10
. 11. Love Me Or Leave Me : They've proved me wrong wih this track. Their strong point is upbeat ? Nope, they can also deliver ballad. Really emotional & beautiful 9.5/10
. 12. The End: This shows me how brilliant and creative they're. The others should note this, there's no better way to close an album than an acapella track. 9/10
. 13. I Won't: I feel like it's too fast and nothing memorable going into this track, it's like you spend more than 3 minutes but then remember nothing. 6.5/10
. 14. Secret Love Song Pt.II : It's a beautiful and way better track than Pt. I, they should've put this track in the standard and get the acclaims. 9.5/10
. 15. Clued Up : There's something wrong with this song. It's great, beautiful, but I don't feel like it's a group, it's like every member in the group tried to outshine each other. 8.5/10
. 16. The Beginning : Despite being the last track, it was named "The Beginning", and I know, this is their beginning in the battle to take over the music industry. 9.5/10
I don't actually expect much from Little Mix from the beginning and they can pull out an album like this, it's actually amazing. There are high & low in this album, but overall, it's really a solid one.
__________________________
8.7/10
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Member Since: 1/1/2014
Posts: 43,331
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Now starting:
Justin Bieber - Purpose
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Member Since: 8/19/2013
Posts: 68,548
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Justin Bieber
Purpose
7/10
After Justin's trouble with the law and media backlash, everyone thought he was over. His only way to stay relevant and save his image was to produce a great album, which he did. Purpose is surprisingly good. Justin has always been a trend follower, so the album isn't innovative sound-wise, but its strength is in the lyrics and in the subjects touched by the songs. In less than 50 minutes of music we got to learn more things about him that we did in his 2-hour-long movies.
Sure, the album has its highs and lows, but it's overall a solid, cohesive record with so many earworms that won't get out of your head easily. Its main downside is that there's an abyss of quality between the two singles released so far and the rest of the songs, which seem to have little smash potential.
 | 1. Mark My Words
An intro that expresses the concept of the album which sounds as annoying as it gets. The idea could've been developed much better. 1/10
2. I'll Show You
This song is perhaps a bit too flat to be in the early tracklist. It barely has any chorus, and it's just one of the many "I was reborn, hunties" songs on the record. 5.5/10
3. What Do You Mean?
I wasn't thrilled about it at the beginning, but after a few plays it has become one of the best songs of the year for me. The lyrics are perfect. 10/10
4. Sorry
A great choice for the second single. Another very well-written catchy song that's bound to do great on the charts. 9/10
5. Love Yourself
My favorite song on the album, lyrics wise. Justin sounds so calm and relaxed on this song where he's exposing some girl he used to go out with, and that's what I love about it. 10/10
6. Company
This song doesn't say much. Its lyrics are tacky, its chorus is weak and its breakdown is even weaker. Forgettable. 3/10
7. No Pressure
A very good song ruined by Big Sean's annoyingly nasal voice. If Justin needed a way to make this song longer, adding a random rapper wasn't the right way. 7/10
8. No Sense
This time, the feature totally makes sense. This song has a mysterious vibe to it that makes it almost hypnotizing. 7.5/10
9. The Feeling
Halsey's impersonal and weak voice wasn't really needed here, as Justin could've sang the chorus by himself and a hundred times better. 6.5/10
10. Life Is Worth Living
A stunningly beautiful song with great lyrics. Justin sounds so emotional on this downtempo. 10/10
11. Where Are Ü Now
This song marks Justin's conversion to EDM. He truly sounds great on it, but the breakdown is quite messy, a clear sign that these DJs are running out of ideas. 7/10
12. Children
A forgettable filler that sounds like two completely different songs were mixed together. The noisy filler literally has nothing to do with the rest of the song, that is extremely weak itself. 2.5/10
13. Purpose
Sort of this album's "Believe". It's a great way to close the tracklist and the concept of Purpose. The spoken part is really beautiful, too. 9/10 |
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Member Since: 1/1/2014
Posts: 31,895
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Ellie Brings Excitement and Ecstasy On New Album, Delirium
as seen in the first issue of ATRL Magazine!
It has already been three years since Ellie Goulding’s sophomore effort, Halcyon, was released. The wait for new music is finally over, with her third record, Delirium, bursting into life this month. The album offers a plethora of new songs, with the longest edition checking in at 25 songs. While it has divided fans and critics, it is time to acknowledge Delirium for what it really is – a polished and positive pop record, blending the signature styles and sounds from her first two albums, and glistening with a layer of mainstream sheen. Essentially every song channels an optimistic spirit, and that was Goulding’s goal: to create an epic pop record that encourages us to dance. While this positive theme sounds like a recipe for “cheesy,” forgettable music, the tracks on Delirium ultimately show Goulding’s growth, as she now knows how to express the potential her voice has always had.
The album wastes no time in grabbing attention, with “Intro (Delirium)” hauntingly reminding us of Goulding’s angelic voice. This opening act seems to be a transition from the darkness of Halcyon into the light, airy nature of Delirium. “Intro” epically blends into “Aftertaste,” a pounding anthem engineered for clubs. This desire to dance is an overarching theme on Delirium, as expressed in the brooding gem “Keep On Dancin’”, electronic jam “Don’t Panic,” and sinfully sugary “Around U”. Many songs are designed for pop radio, but maintain Goulding’s signature quirks. Lead single “On My Mind,” one of many Max Martin-helmed tracks on Delirium, reinforces Goulding’s ability to craft radio-ready music. What singles should come next? Insanely catchy “Codes” and trap-influenced “Don’t Need Nobody” are the best tracks on this album, ranking in the top tier of Goulding’s discography. These two songs are sure to be massive hits.
Goulding’s promise to produce a positive, dance-oriented album is certainly fulfilled with Delirium, but there is one noticeable omission due to this theme: ballads. Over the years, Goulding has penned beautiful ballads, and the listener might yearn for a few here, as the constant upbeat nature of this album can border on overwhelming. At the end of the standard edition, there are some more introspective songs that might please a fan of ballads, including the epic “Army,” folky “Lost and Found,” and ethereal finale “Scream It Out.” But the music doesn’t stop there, as Goulding has added many deluxe tracks. While probably the weakest on the album, they are still worth checking out. “Paradise” is a highlight in this grouping, and the experimental, polarizing “I Do What I Love” is one of Goulding’s most interesting songs.
Ultimately, Ellie Goulding has propelled herself into the limelight with Delirium, but she does not forget where she has come from. Her musical influences are clear on this album, and her unique flare is not lost in the process. Delirium is one of the best pop records of 2015, so press play, and let the rush of music take over!
8.2/10
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Member Since: 1/1/2014
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You should end one of these on Friday so you can start 25 on Saturday morning. Let's review 25 while it's hot
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ATRL Contributor
Member Since: 4/24/2011
Posts: 8,547
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Quote:
Originally posted by HausOfCarlos
I think I want to review Art Angels since it turned me into a Grimes stan, did you guys start reviewing it? I've only seen Holyground's review |
I guess we can start now?
Honestly, TRF.
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Member Since: 1/1/2014
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Quote:
Originally posted by Superpower
You should end one of these on Friday so you can start 25 on Saturday morning. Let's review 25 while it's hot
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Yes, I'll end Delirium and Get Weird on Friday night.
Quote:
Originally posted by THERihFan
I guess we can start now?
Honestly, TRF. |
Sure.
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Member Since: 1/1/2014
Posts: 43,331
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1 day notice 
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Member Since: 12/30/2010
Posts: 1,954
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Is it too late to dew a Perpuse review?
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Member Since: 1/1/2014
Posts: 43,331
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Quote:
Originally posted by KillaCham.
Is it too late to dew a Perpuse review?
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No, it's ending tonight.
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Member Since: 4/4/2014
Posts: 17,141
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Can I post my 25 review now? 
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25 (ADELE)
I have a feeling we're not in Kansas any more.
C (57%) [Std.]
C (55%) [Dlx.]
STANDARD EDITION
Hello: I have nothing but good words to say about this song. Some say it's a typical Adele song and I disagree. It's a typical Sia song maybe, but there's something captivating that doesn't appear in any of the other tracks on this album, nor on any of Adele's previous single releases (with the possible exception of Make You Feel My Love). This song truly is one of the best of the year and I never thought I'd say that about Adele. (5/5)
Send My Love (To Your New Lover): This is something I would never have expected from Adele but it still has her conventional touch on the track. It's not an upbeat fast-pumping track above 160 bpm. It's one of the most upbeat on the album but it's hardly more than mid-tempo, yet it works. I think that can be attributed solely to Shellback. He truly brings the best out in Max Martin, whose recent work without Shellback (or Dr Luke) has been lacking in various aspects the past year. Love this. (4/5)
I Miss You: Without even hearing this track, I knew it would bore the living daylights out of me. Almost 6 minutes. A good 150 seconds could be shaven from that track time. I don't know how I feel about the song. The verse is average. The chorus is nice but it gets irritating quickly, and as for the pre-chorus; it has that strange quality where I don't know if I love it or hate it on first listen. Honestly, it's neither. It's just there and I wish it wasn't. I like that they tried to make the album tracks interesting and unique, but the execution just failed. (2/5)
When We Were Young: The first time I heard this was in the car (with my mother dragging it for filth). I didn't really like it either. I like it more now. The verse is the best part of the track and the chorus does have its moments too. But the rest just feels flat; I'm not really sure if it's the key or not. It's a good song, and I do love the choir effect. But something just lacks for me. (3/5)
Remedy: This track is leaps and bounds ahead of the prior two. The chorus is truly stellar. At first this felt like filler, but now I'm not so sure. It's a lovely song but I just don't see anything interesting about it. (3/5)
Water Under the Bridge: I really needed to hear a song like this at this point in the album. I was starting to feel bored and this rekindles any motivation to continue listening. The pre-chorus is a bit peculiar, but the rest of the track is decent enough. It just drags a bit too long, a common occurrence for the tracks on this album. (3/5)
River Lea: I don't know how long I spent trying to figure out which song the first two lines of the verse sounded like. (It was Miley Cyrus' Fweaky by the way). It was similar and for that reason I like the track. It's really rather nice but there's just something lacking. It's a cute little song, which is similar to Set Fire to the Rain, but in no way comes close. (3/5)
Love in the Dark: I'm keeping this one short and sweet. Three times I've listened to this album, and three times I lost motivation to go any further because of this song boring me to hell and back. The chorus is decent and the rest is just dreadfully boring. (2/5)
Million Years Ago: One of the standard highlights of the album. There's something truly wonderful about this. Her vocals are enchanting and despite the track being slower than most of the rest with minimal production, it's 500 times more interesting than the majority of the previous tracks. (4/5)
All I Ask: Another highlight of the album. Simply Adele with the piano. That's how she works best. A truly impeccable vocal melody for the chorus of this track. My favorite track after Hello. (4/5)
Sweetest Devotion: I have mixed feelings on this track. At first, it was a breath of fresh air after the majority of the album. There's nothing wrong with the track but there's just something about the chorus that feels too much. You have All I Ask which is simply stunning and then you have Sweetest Devotion which feels like a slap in the face. It's a good song but I would have preferred something more laid back. (3/5)
DELUXE EDITION
Can't Let Go: Wikipedia told me this is a Mariah Carey cover. I have one question; was the original song this boring too? Again, there's nothing wrong with the track, apart from a lack of any form of excitement. The "did you find the note that I wrote" line is the one highlight of the track, alongside the bridge. (3/5)
Lay Me Down: This track started off really well until the chorus kicked in. The verse is intriguing but the chorus feels overly repetitive with the "Lay Me Down" hooks. After the 2nd verse it just spirals downwards really. (3/5)
Why Do You Love Me: I'm slightly shocked that this is as upbeat as it is with it being the final track. However lyrically it fits. I can understand why it's a deluxe track though. The hook feels just as repetitive as Lay Me Down did. I'd say this is probably the better of the deluxe tracks though. (3/5)
Where do I start? I've never listened to an Adele album in full before 25 and in some (well... most) ways I'm happy about that. My issue with Adele is the lack of any excitement for me to listen to the album. It truly was a struggle to take the time to listen three times and review it. I am a sucker for any ballads (preferably mid-tempos) but when you have a whole album full of slower tracks, it just becomes overwhelming, and the music itself becomes underwhelming. It's for that reason I love Send My Love (To Your New Lover) because it is a more upbeat track but at the same time, it still works; Something I feel other tracks which tried to be interesting, like I Miss You, failed to do. Hello still remains my favorite track on the album, but All I Ask and Million Years Ago are truly great tracks as well. Outside of these mentions, I don't see myself using the rest of the album in any capacity as of tomorrow. A cute album, but it's just not my cup of tea. Congrats to her for destroying everyone's faves though 
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ATRL Contributor
Member Since: 4/24/2011
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Member Since: 5/22/2011
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Mezik's Music Review
Adele - '25'
The Adele storm has hit, and although she has hit the music world by storm again it does not necessarily mean the quality of the music is as strong. Working on the album for so long would make most people think that she released the absolute best piece of work that she could record but unfortunately falls flat on the majority of the work. As an artist, it is absolutely vital to record something that will capture the attention of new listeners, and keep old listeners sticking around, and for the most part this album sounds, sonically and lyrically, as if it is just the extended version of '21' but a lot more dull and emotionless.
However, praise needs to be noted for where it is due. The production, minimalistic yet effective, provides the listener with a beautiful listening experience as it never seems to over power Adele's vocals. Furthermore, Adele sings with such control and confidence that every song on the album sounds as if Adele can hit the notes, belts and lows effortlessly. As one listens through the album it is also important to recognize that she recorded, quite possibly, the best song of her career with 'When We Were Young'. A beautiful ballad about reminiscing of the old days, Adele takes her vocals to the next level and shows the world that raw talent can win. Along with 'Hello', these two songs are the only redeeming factors of the album.
Overall it is what to be expected. When an artist has so much hype the expectations are high for a reason, and it is because people want to see something new whether it be a new sound or new writing style. However, when you have a previous album that had massive success sometimes it is safer to stick with what works and what you know will sell. Although there is nothing new on this album for Adele, and it may come across as almost dreadfully slow to listen to, Adele's fans will eat it up for what it is and keep her in the public eye as one of U.K's most talented vocalists and song writers.
Mezik's Score
5.5/10
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ATRL Contributor
Member Since: 8/19/2013
Posts: 43,104
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Quote:
After largely disappearing from the public eye from the past three years, the (arguably) biggest star of the millennium is back. Coming off the unfathomable success of Adele's sophomore album "21" - 30 million albums, 3 #1 hits, over half a dozen Grammy's - 25 is tearing records down on its own.
21 was largely pulled by four fantastic songs: The epic "Rolling in the Deep," the masterful "Someone Like You," the dramatic "Set Fire to the Rain" and the underrated magnum opus "Turning Tables." The rest of the album was largely uneventful, but the four aforementioned tracks were so damn good that it didn't matter. 25 doesn't have a blatant standout group of songs; while lead single "Hello" largely triumphs over its neighbors in a similar manner to Rolling in the Deep, no song is bold enough to warrant any comparisons to the Big Four of 21.
What is perhaps 25's biggest fault is that it feels ironically rushed. After four years, one would think that 25 would be fully developed in every foreseeable direction. Yet the tracklisting is on Beyoncé's "4" level of horrendous: "Hello" is the only understandable choice as it's a clear album opener, but the terrifyingly poppy "Send My Love (To Your New Lover)" as track number 2 while songs like "Love in the Dark" and "All I Ask" are stuffed in the albums latter half? A clear mistake on the part of team Adele.
Then there's lyrical clunkiness: "Sometimes I feel lonely in the arms of your touch." Just say "arms" Adele, it's understood that when you're in someone's arms they're touching you. "It feels like we're oceans apart / There is so much space between us," when you say "oceans apart" it's also understood that there's "space" between the two parties. Simple mistakes and redundancies like this are almost unacceptable for an album that's largely expected to be perfect.
Yet somehow, some way, through these faults, 25 is still shines. Adele's vocal delivery is unlike any of her contemporaries - no, she's not Whitney, her technique is still decent at best, and her range is largely limited - but she pours every drop of her heart into her delivery so daftly and unapologetically that it's often breathtaking. She's one of the few singers who deserves the moniker of "being able to sing the phonebook."
The songs themselves also rarely falter sonically, all being enjoyable listens even with awkward lyrical choices and faulted track placements. While everyone will be disappointed to learn that there isn't a ballad with the elegance of Someone Like You, they should at least be able to settle with Rolling in the Deep's sister Hello.
No, 25 is not the best album of the century, hell even the year, but it will likely endure as a classic anyways thanks to the limitless transcendence of Adele.
Overall: 7/10
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Member Since: 8/19/2013
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holyground: music in review 
57
"great production, but too cheesy"
highlights
I'll Show You
What Do You Mean?
Sorry
Company
No Sense (feat. Travis Scott)
| Purpose
Justin Bieber
As we'd all expect from teen stars transitioning into adulthood, Justin Bieber crumbled in the face of fame, public scrutiny and growing up. Got a long list of bad behavioural problems, the world's most loved/hated kid crashed right into becoming a young adult. Between his past full-out musical effort and Purpose, Bieber didn't completely disappear from the music scene. he released a mixed bag of R&B/hip-hop offerings. It was all over the place, unfocused, and no one really knew that happened. But since then, Bieber seems to be trying to get back on the right track, starting with the Justin Bieber Roast, he is fishing for forgiveness and sympathy from the public.
Purpose sees Bieber trying to grow up, trying to right all wrongs and somewhat yearning for Selena Gomez's love. Does he really succeed in doing that? No. Sorry is an immense bop, but how could it be considered an apology song when all it does it make people want to dance. Life Is Worth Living is just too cheesy, and he thinks he can change the world with some dance beats in Children. Bieber isn't known to be a really down-to-earth, relatable person. His aloof attitude just makes these songs sound like generic club drivel.
While the lyrical side of the album is too underwhelming, at least he is really serving in terms of production. Like his former flame, he jumps on the 2015 trend of tropical house and creates some really easy listening jams that people who aren't fans are able to enjoy. Lead single What Do You Mean? champions this. Its lyrics are nonsensical, but its breezy, tropical sound sits very well with our ears and people really don't mind listening to it, hence broadening his audience.
The album closes with the title track, which ends of with a little speech that basically says he's human, he makes mistakes etc. Okay, so maybe he was a little out of hand during the past few years, but honestly he should stop touring his apology tour. It's good that he's taking responsibility for his actions, though it may be hard to believe with the recent few incidents he had. But if he really wants to win the world back, he needs to impress us more, musically, artistically, professionally. You may have let us down and though it's not too late to say sorry now, but focus on the craft, show us more of what you can do.
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Member Since: 1/1/2014
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n, have we started 25 already? 
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Member Since: 8/19/2013
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holyground: music in review 
75
"mature, confident"
highlights
I Miss You
When We Were Young
Water Under the Bridge
Sweetest Devotion
| 25
Adele
The day all non-Adele stans are afraid of has come. Ms. Adkins has returned from her deep slumber to not only snatch away but obliterate whatever records our faves have. Literally no one is spared, not even *NSYNC, in this day and age. It really boggles me why in the middle of 2011, the entire world decided to throw all their money and Adele and that everything that comes out of her is literal gold. And how just about every damn person is waiting for her to return. Do the people just really love soul/pop? Is her writing miles above everyone elses? Is her music that different and amazing, that she has 3 million people in the US ready to buy her album during her opening week? It just bewilders and amazes me. So, how does 25 match up to its numerical predecessors and how does it answer any of these questions?
To me, Adele has always felt like this quiet lady who has lots of emotions and a voice of gold, almost like a Susan Boyle thing. But in 25, I feel like she's breaking out her little diva. She's going for bigger drums, she's being a little bit more playful, she's going for bigger notes. There's an air of confidence and power, which makes this album that much more commanding. I Miss You is seductive, something that I believe we haven't seen from her.
This album is not quite as simple as her previous efforts. The aforementioned track has loud booming drums, Water Under the Bridge touches Jessie Ware-like R&B, and Send My Love (To Your New Lover) employs the Swedish pop masterminds. Again, it makes the record sound more powerful and commanding, though the latter feels like a thorn in the flesh, even when Max Martin and Shellback tries to stick to Adele's usual sound as much as possible, and soften the obvious pop/radio candy trickery as much as possible.
Given the age progression between this and the previous album, of course there is a newfound maturity in Adele's writing. She's no longer a scorned ex-lover. In 25 she's not finding fault, but she's trying to find closure. The lead single, Hello, tries to make wrongs right. The biggest and most sweeping ballad, When We Were Young, talks about the jarring thought of remembering your youth. All in all, it's bittersweet.
So, does the album answer why Adele is the biggest artist in the world, by the hugest margin seen since The Beatles? She's a terrific lyricist, though not one that's miles above others, but she encapsulates feelings perfectly. She's got a great voice, she's no Aretha or Whitney, but she does exceptionally well, especially in today's music scene. She's got great music, nothing is groundbreaking, but they're objectively good songs and are evocative enough. I guess she's just great at everything, and doesn't fit the typical mould of a pop star. It will still remain a mystery as to why the world chose her to be the biggest musician of our time to me, but I guess I can say I don't mind.
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25
Adele
Review archive
Adele - Hello
Selena Gomez - Revival
Lana Del Rey - Honeymoon
Carly Rae Jepsen - E·MO·TION
Kendrick Lamar - To Pimp A Butterfly
Madonna - Rebel Heart
Florence + The Machine - What Kind of Man
Carly Rae Jepsen - I Really Like You
Taylor Swift - Style
Rihanna - FourFiveSeconds
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The key to 21’s success was familiarity. Rolling In The Deep’s explosive 'We could have had it all' probably had Florence Welch kick herself for not writing it first, Someone Like You’s 'Never mind I’ll find' was such an obvious assonant exclamation that anyone could have felt like they wrote it. This isn’t so much a disservice to Adele, but more it underlines her astute ability to create things which are so instantly familiar, like a cerebral archaeologist unearthing memories we had since forgotten. Of course, it means that approaching an Adele record with a desire to hear sonic innovation is categorically wrong, but one can’t help but feel that the eminent follow-up record, 25, feels all too familiar.
It’s either familiarity or simple anaemia which hinders 25. Rather than the robust underbelly of 21 which punctuated the understated piano ballads with the gutsier and dramatic Rolling, Set Fire To The Rain and Rumour Has It, 25 fails to establish a central, architectural pillar which binds the record. It’s something which probably could have been found in the vast, cavernous I Miss You, the throbbing groove of Water Under The Bridge or the anthemic River Lea, but 25 is all too diluted by its weaker counterparts. Send My Love is perhaps the most baffling here, being the most anticlimactic culmination of our expectations of a Max Martin-helmed Adele song, something which could have elevated the pop sensibilities of 21 but instead settles for Lily Allen demo. Opening track Hello takes five minutes to force out a chorus as if it's deprived of fibre, while the meandering trio of Love In The Dark, Million Years Ago and All I Ask simply see Adele lull back into a default, autopilot position.
The problem here, however, isn't simple complacency, but better it appears to be the vestiges of the writers block Adele had described experiencing towards the beginning of the writing process. It's something made apparent in the stark song writing mishaps which see the album descend into vague or awkward territory: from the clichéd 'town where nothing ever happened' on Hello, to the all-too-obvious 'I can't love you in the dark / It feels like we're oceans apart', and the trite 'The sweetest devotion / Hitting me like an explosion / All of my life, I've been frozen' on the closing track. 25 perhaps suffers from lacking the privilege 21 and its pre-fame anonymity had. Discussing life thirty million albums later is difficult to do in a way which is still informal and appealing, or at the very least exposing personal shortcomings is daunting when the world will now be scrutinising your every lyric. It's as such that 25 doesn't truly strike the match 21 could do in its privacy, and instead - amongst the moments of promise - has to continually dance around the album it wants to be.
This is something which is riddled throughout 25, where the past is often fetishised as a way of subliminally lamenting a bittersweet post-fame world. Hello chooses to do this through sepia-filtered clichés, River Lea fantasises about location and Million Years Ago pines for something which seems infinitely long ago. However, this theme is at its most stark on When We Were Young's voyeuristic 'You look like a movie / You sound like a song'. The bitter irony is that Adele used to write these songs, these shards of music which could refract the most distant memory in vivid technicolour. Instead, 25 is rather self-exposing here in the way which it can no longer re-imagine these vivid life experiences on its own. Adele is but one of us, and these songs - these reminders - are but a distant dream.
6.0 out of 10 |
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