Let’s see, we have the fantastic intro song, the volcanic piano ballad you were prepared for, the song where she cries, the desperate swagger song, the Corny song a little too pop, the Cornier song a little too pop, The song called “Bebo Vino”, the unbelievably sweet song, the unbelievably mean song, the song in which you sing “Right Now I Truly Bein ‘Me”, the volcanic piano ballad you weren’t prepared for, and Song of Desperate Bragging . Where would you like to start?
Excellent option! “Complacency / It’s the worst trait you can have / Are you crazy?” sings adele deeply 30, his fourth album, his apparent divorce album, his wildest album, if not the best. “You have never had / have never had a woman like me.” Also: “He’s so sad / A man like you / He could be so lazy.” Backed by a somber finger-plucked acoustic guitar and plump drums, it sounds both furious and funereal, like Leonard Cohen boiling through a Real housewives confessional, and even her kindest pronouncements (“How can’t you see how good I am to you?”) are delivered as if she slowly shook her head in disgust, and I told you this was the incredibly mean song. It’s not about the guy you think it’s about, but still: sheesh.
“Woman Like Me” (one of the three songs produced by Inflo, from the fantastic British R&B collective Sault) is by far the most conflictive moment of 30, which oscillates between abject loneliness and iron resignation, between the frivolity of a newly divorced woman and the pitiful fuzzy hangover, between fixation on a past love and cautious exaltation for a new one. “Woman Like Me” is immediately preceded by “All Night Parking (With Erroll Garner) Interlude”, a charming and loving detour (produced, as is more than half of the record, by Greg Kurstin, Adele’s frequent collaborator) bathed in a sun piano. arpeggios (courtesy Michigan musician Joey Pecoraro’s 2017 sample of a wonderful 1964 jam by jazz pianist Erroll Garner), and I think you’ll agree that “The Stupendously Sweet Song” is a much less confusing title for that . And quite appropriate, too, given the flirtatious jazz club tone with which Adele purrs the verses (with even flirtier choruses):
I don’t know how you understood me (I’m so cold)
Everything is happening so easily (like, oh my god)
It’s so hard to digest, I’m usually better off alone
But every time you text me I want to take the next flight home
And dream by your side
Yet one more wrinkle: according to this month’s report Rolling Stone The cover story, “Woman Like Me” is not about her ex-husband, Simon Konecki, nor is “All Night Parking” about her new boyfriend, Rich Paul, and in fact both songs are about a mysterious boy she dated in the middle. , and so we’re really dealing here with an energetic two-song series about a post-divorce love story that began with a butterfly-inducing promise but quickly collapsed into exasperated despair, so she began to sit by the court with LeBron’s agent. Hey. That’s what I get for trying to extract this record of sensational intrigue. As a purely musical matter, Stupendously Sweet to Stupendously Mean is a whiplash transition, but given the news that Adele prevailed over Spotify (which owns The ringer) for remove the shuffle button From all the pages of the album, it is clear that 30The precise list of songs and the emotional chaos she delights in are of the utmost importance to her. Not everything works, and everything is quite chaotic, but nothing can be accused, not even a luxurious second, immaculately sung, of complacency.
What I have always liked about Adele, and what has only bored me a little, is her great pop-soul consistency, the hermetic 45 minutes of her successful albums (2011’s twenty-one It’s still my favorite because of the raucous Godzilla-in-Memphis boil of “I’ll Be Waiting”), and its almost total disappearing act between album cycles. Appears every few years, ignites the charts (both twenty-one and its 2015 successor 25 achieved diamond status in America), sucks all the Grammys off with a giant cartoon vacuum cleaner and then bounces, once again reveling in the enviable placidity of his private life.
Too much for that. His separation from Konecki in 2019 30—That at 58 minutes and it changes it still somehow feels a lot longer in comparison, to be a heartbroken reckoning, and “My Little Love,” aka The Song Where She Cries, is in part her attempt to explain her divorce to the 9-year-old son of fractured couple, Angelo. Adele does this through sad little mother-son interludes (“I love your papa because he gave you to me”) that punctuate the electro-soul that sadly seeps out of the song itself (which rises, gravely, to a big chorus of “I’m holding on / Mommy’s got a lot to learn”) before climaxing with Adele, on a solo voice note, admitting she’s paranoid, stressed, hungover, and lonely, by now, oof, yeah , it is audible sobs.
This all sounds like the clubbing lady’s personal / maternal reckoning from Drake’s “Marvins Room,” and it sounds blatantly too. personal and stridently messy, as Adele’s records say. This new volatility maintains even the most conventional Adele-type movements in 30 for sounding too familiar: a line like “I didn’t have time to choose / What I chose to do” from “Easy on Me” (aka The Volcanic Piano Ballad you were prepared for) is therefore steeped in drama, with real life pathos. . It also helps that he sings a lot, as he naturally sings a lot in everything: the smoky bombast, the howling virtuosity, the vibrant personality. “Strangers by Nature” (aka The Fantastic Intro Song, exceptionally produced by the Childish Gambino cohort and Black Panther/The mandalorian scorer Ludwig Göransson) is a true marvel with a jazzy delicacy, each syllable painfully fragile but burnished with gold:
I’ve never seen the sky this color before
It’s like I’m noticing everything a little more
Now that all the dust has settled
I refute all my refutations
Nobody knows what it’s like to be us
The pronounced jazzy flair, along with the clutter, may recall the spectrum of Amy Winehouse, whose Old-Soul-With-Fresh-Wounds approach to 21st century R&B also seems to perk Adele on the digitally modified strut of “Cry Your Heart Out. “(Aka The Forlornly Swaggering Song) and the grandiosity of the string-soaked old soul at the close of” Love Is a Game “(aka The Extra-Forlornly Swaggering Song). In a perfect world, Adele and Amy would have been lifelong friendly but fierce rivals, on the charts, on the Grammy stage and, in quotes, on the streets, and in that world, too, listeners who appreciated bravery and volatility, and a little Danger in quotes would have always attracted Amy. But Adele, in the laid-back piano beat “I Drink Wine” (aka The Song Called “I Drink Wine”), finds a resigned and attractive and exhausted volatility, dealing with a hedonism that does not feel so hedonistic:
When I was a child, everything could blow my mind
Soaking up everything for fun, but now I just drink wine
“So I hope to learn to improve myself / And stop trying to be someone else,” she adds. That sentiment is a less forceful variation on the way she described 30 as a whole for fashion in October: “It was more like me divorcing myself. Just being like Bitch, you fucking hot mess, get your fucking shit together!(Reporter Abby Aguirre added that Adele “broke out into a laugh that sounds like a balloon buzzing around a room as it deflates.”) Adele the Singer’s overriding superelevance has always clashed a bit, to me, with Adele the public figure’s deliciously unholy impudence, and 30Like her other records, it doesn’t make use of all of her raunchy bubbly, but this one finds intriguing new sides to her: “Hold On” (aka the song where she sings “Right Now I Truly Hate Bein ‘Me”) it shows greater vulnerability, rising to a grand chorus of bellows that you will see coming but welcome nonetheless, without entirely disgracing the uncertainty it admits along the way:
Every day feels like the road that I’m on
It could just open up and swallow me whole
How do I feel so small?
When am I struggling to feel something?
As for the Slightly-Too-Pop songs, “Oh My God” (aka the cheesy one) has attractive clapping vigor: “I know it’s wrong,” he laments, “but I want to have fun. “But” Can I Get It “, the cutest, and Adele’s second collaboration with pop gurus Max Martin and Shellback, after 25The far superior “Send My Love (To Your New Lover)” – leans toward the appeal of generic radio, with the lively acoustic guitar, the hissing melody chorus, the forced contagion. Right now I remember the names of exactly two of the 50 bands in modern pop / rock radio that combine adjacent folk clichés with flashy car business aspirations (those two bands are Lumineers and Of Monsters and Men), and I don’t have the I intend to learn more of their names, and I don’t need Adele to try to beat them at their own game, even if she can, or at least even if she can beat the bejesus of all of them. I want Adele to relax; I want you to avoid that dreaded “Real” role -Singer-Belting-Next-to-a-Grand-Piano-that the Grammys are eager for me to play. But the much better parts of 30 encourage her to branch out as you let her return, with a little extra jolt of excitement this time, to her legendary strongholds.
Which brings us, finally, to the album’s penultimate track, “To Be Loved”, also known as The Volcanic Piano Ballad You Weren’t Prepared For, a co-writer of singer-songwriter Tobias Jesso Jr., in which Adele screams repeatedly: “Let it be knew I tried” with growing fury, terrifying and legitimately shocking, almost losing control, but never pretty losing control. Its alot. It would be too much if you value subtlety in any way; It might still not be enough if you find Adele (anyway) a bit too subtle and restrained compared to the magazine interviews. Both on a personal and musical level, 30 It gets Adele out of her carefully mapped path, just for a few steps here and there, but the effect is tremendous, or at least conspicuous. However, what a path and what a colossal voice continues to guide you along it too.