Adele – 21

August 30, 2012 at 10:10 pm | Posted in Adele | 4 Comments
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  1. Rolling In The Deep
  2. Rumour Has It
  3. Turning Tables
  4. Don’t You Remember
  5. Set Fire To The Rain
  6. He Won’t Go
  7. Take It All
  8. I’ll Be Waiting
  9. One And Only
  10. Lovesong
  11. Someone Like You
  12. If It Hadn’t Been For Love
  13. Hiding My Heart

In a business where sex sells and women are expected to be a certain size, Adele threw all those expectations out the window and single-handedly dominated 2011 with her sophomore record, 21. She made her mark with her first album, 19, which showcased her powerful voice to the world. While that album was successful, it pales in comparison to what she achieved with this album. Album sales have certainly declined in the new digital age but Adele revitalized the industry. I first heard of Adele through word of mouth on message boards but I had no desire to check her album out. Eventually, I came across her video for Rolling In The Deep and that was all it took to send me off to find her album. She doesn’t stray from the themes that she explored in her debut and 21 is completely focused on the aftermath of one of her relationships. However, what is different about this album is its maturity and sound. Everything is bolder, louder and so much more powerful. It is a reflection of who she has become as a person and her growth is very evident. The songs reveal her experience with the break-up, ranging from feelings of anger, regret, sadness and heartbreak. On 19 she had just begun carving her sound but on this album she perfects it.

Like I said in the introduction, Rolling In The Deep was all it took to get me hooked on her and it’s one hell of an opener. Blending blues and gospel, she creates a powerful revenge track laced with dark overtones. With the simple strumming of a guitar, the stage is set for Adele’s massive voice. “There’s a fire starting in my heart” she bellows to the simplistic but strong strumming, only to be joined by an explosive set of drums after the first stanza. While I loved her voice on her debut, it sounds richer and stronger now. The fury that spills from the melody and her vocals is captivating and deadly. It demands attention and you can’t help but cower to it. Once in the pre-chorus, you can feel the song building up and getting ready to erupt and it does in the chorus. “We could have had it all/rolling in the deep/you had my heart inside of your hand/and you played it/to the beat” she belts, accompanied by gospel backing vocals. It’s the highlight of the track and it’s a massive ear-worm. Her deep, emotional and vindictive tones are a breath of fresh air. Her voice is one of a kind and she shows it off perfectly. She channels gospel in the bridge as she sings to a clapping beat with wailing background vocals. The song constantly amazes and continues to fill up with power as it goes on. It’s really not surprising that this song blew up everywhere. It avoids all the clichés that riddle music today and it’s something that hasn’t been done in a very long time. It’s an amazing track and it still hasn’t lost its charm even if it’s been overplayed to death. Rumour Has It is a poppier tune that is percussion-driven. It still has that blues-y feel but its in-your-face as she addresses the gossip surrounding her love life. This track has a very contagious groove to it, thanks to the constant display of drums and her “oohs” which remain in the background for the majority of the song. Her powerhouse of a voice takes on a sassy tone as she sings to the old school beat. There isn’t much of a chorus because it’s just the title repeated a few times but it’s so addicting and funky. It’s hard not to become a victim of its beat. Things calm down in the bridge until the rapid piano comes in and evokes an unsettling atmosphere, leading back into the wicked drum melody.

Adele gets more intimate with the next track, Turning Tables, which finds her cooing to the delicate strokes of a sad piano. The tear-inducing melody is captivating and is complimented by her sorrowful vocals. “Close enough to start a war/all that I have is on the floor,” she sings and with lyrics like these it’s hard not to fall for this tear-jerker. This was a favourite of mine the first time I heard it. Its beauty resonates loud when the pre-chorus hits and the piano’s tone shifts as her voice heightens. The outcome is marvelous and it’s certainly a key part of the song, despite how short it is. For a brief second, the song becomes barren and the piano comes back stronger for the chorus, “so, I won’t let you close enough to hurt me/no, I won’t rescue you to just desert me/I can’t give you the heart you think you gave me/it’s time to say goodbye to turning tables.” It’s stunning and her voice tears through the instrumentation with pain. The chorus is better the second time around because of the strings and the spiraling nature of the bridge, emotionally and sonically, is amazing. Don’t You Remember leads her away from anger and brings her to a state of reflection with its calm and country acoustic set. The guitar embodies the feel of the countryside and it has a very welcoming and warm air to it. The minimal arrangement of the verses puts all the focus on her voice. She impresses with soothing and deep tones that convey a tremendous amount of pain, “when was the last time you thought of me?/or have you completely erased me from your memory?” I love the way her voice stretches and rises. It not only evokes a stronger sense of sadness but demonstrates what a great vocalist she is. Eventually, it starts to build up as it heads into the pre-chorus and finally climaxes in the chorus as the drums join the guitar riff which becomes a lot livelier. The hook is phenomenal as she lets her voice soar through the melody and it instantly pulls you into its depressing atmosphere. She recalls the good times in her relationship but it’s overshadowed by the heartbreak that she has endured. It comes together in a lovely but extremely sad way, “but don’t you remember?/don’t you remember?/the reason you loved me before/baby, please remember me once more.”

Set Fire To The Rain is the beast of the album. This is her best song and it’s a killer power ballad. Struggling with the idea of letting go, she delves into a dark concoction of piano, percussion and strings. The gorgeous piano and percussion melody start things off and her vocals are unbelievable, “I let it fall, my heart/and as it fell you rose to claim it.” It’s, without a doubt, her best vocal performance. She didn’t sing like this on her debut so it’s stunning to hear her put so much energy into her voice. The lyrics are as beautiful as the accompanying melody and as it enters the pre-chorus the strings come to life, building up for the chorus which is the most amazing hook on the entire album. “But I set fire to the rain/watched it pour as I touched your face/well, it burned while I cried/’cause I heard it screaming out your name, your name,” she belts with her monstrous voice to a melody that is both elegant and terrifying. The power she evokes is incredible and it’s so easy to fall head over heels for this song. The second chorus contains an extra stanza and it’s even better. I love the way her voice sounds when she cries “and I threw us into the flames.” Adele finishes it off with some crazy belting, something that she doesn’t do very often, and the final note she hits leaves me speechless every time. This is a complete gem, one of the standout songs from the previous year and cements her as one of the best singers to grace the music industry in the last few years. The album cools down with He Won’t Go, a chilled mid-tempo with a cool piano and drum beat that touches slightly on R&B territory. The relaxed tone of the verses is nice and her delivery is very laid-back. The shift in the chorus makes the song exciting thanks to the dramatic drums. Her voice takes on a soulful twang that suits the light melody. The bridge features a lovely harp and it’s the best part of the song. The final chorus gets an extra kick because of the strings which makes it catchier. It’s a good song but it’s not that memorable.

Take It All borrows from gospel and she wastes no time in getting started. “Didn’t I give it all/tried my best/gave you everything I had/everything and no less?” she sings as she moves between deep and high tones to an arrangement solely driven by a piano. She plays with her vocal range a lot on this ballad and that’s what makes it so enjoyable. The simple composition lets her raw vocals shine and they’re so beautiful. The pitchy, high notes that she occasionally hits are divine, especially in the bridge where she lets her voice go out of control. She’s so emotive in the chorus and the background choir that joins really adds to the gospel feel, “but go on/go on and take it/take it all with you/don’t look back/at this crumbling fool.” The album gets a mood lift with the optimistic I’ll Be Waiting. Opening with a cool drum beat, it moves to a groovy piano and brass beat that revitalizes the record. After all the vengeful and melancholic tracks, it’s a bit refreshing to have a song that’s more upbeat and bright. The jazzy feel is addicting and her cheery vocals are such a joy to hear. The vibrancy picks up again in the pre-chorus when the brass instruments crescendo and her voice rises with excitement, “but we had time against us/miles between us/the heavens cried/I know I left you speechless.” With an infectious pop-like chorus, it’s easy to be entranced by this song. The melody in the chorus is super catchy and even though the lyrical matter isn’t as happy as you would expect from such a bouncy beat, it’s still a delicious departure for her, “I’ll be waiting for you when you’re ready to love me again/I’ll put my hands up/I’ll do everything different/I’ll be better to you.” The harmonies that occur and her backing vocals are amazing and really add to the pleasant vibe. Things do slow down a bit in the bridge, where it gets a nice little dose of country swag and she manages to get in one fantastic belt. Her vocals at the end are top-notch and make a lasting impact. Overall, it’s a must-hear and it’s a shame that this is the only time you get to see this side of her.

One And Only brings the soul back with a soothing piano and an impeccable performance from the songstress. She uses her low register for this track and it’s so stunning. In the calm verses, her voice flutters to the piano licks. It’s her most soulful approach on the record and it’s one of my favourites. Unlike the other tracks, it’s not emotionally polarizing because it stands between a depressing sound and a positive one. Just as the chorus begins, the song’s gospel elements flood in. The organ adds a feel-good and romantic tone that goes with her gospel-tinged vocals perfectly, “I dare you to let me be your, your one and only/promise I’m worthy to hold in your arms/so come on and give me a chance.” I really like the bridge because of the vocal layers. The instrumental is very percussion and piano-driven but mellow and two sets of her vocals are layered over each other. Her subtle background belting is beautiful and it slowly moves to the forefront as the choir and strings join her which makes it even more amazing. I love how the strings are incorporated in the final chorus because it makes it sweeter. Next up is her cover of Lovesong by The Cure and it’s her most simplistic offering. Adele tones done her vocals, only allowing them to flow softly to the serene acoustic instrumentation of guitars and strings. There’s a lingering feel of darkness that invades the melody and it really makes the song for me. The song is highly structured. The verses are pretty much identical to each other and follow a specific pattern, “whenever I’m alone with you/you make me feel like I am home again/whenever I’m alone with you/you make me feel like I am whole again.” The song remains in the same tempo but does switch it up by rotating between strings and guitars. The chorus is beyond simple but it works and it’s so touching, “however far away I will always love you/however long I stay I will always love you/whatever words I say I will always love you.” It’s a very haunting ballad and despite being so minimal compared to the others, it’s one of the standout songs.

Someone Like You is the album’s biggest hit and the most popular song of 2011. There probably isn’t a single person alive who hasn’t heard this song. It’s been a long time since a ballad has blown up and loved by the masses like this but it’s wonderful to see a song of this caliber being appreciated. With a sweeping piano and vocals drenched in agony, this is one of the saddest songs I’ve ever heard in my life. This ballad has her dealing with heartbreak again but this is the moment that the album has built up to. The verses are calm and collected as she sings to the fact that her ex-lover has moved on and found someone else, “I heard that you’re settled down/that you found a girl and you’re married now/I heard that your dreams came true/guess she gave you things I didn’t give to you.” Her singing picks up speed for the melodic pre-chorus and when she enters the chorus, that’s when she lets her emotions run loose. “Never mind, I’ll find someone like you/I wish nothing but the best for you too,” she cries and you can feel the anguish seep out of her. Her performance on this track is flawless and I love the way her voice falters and she loses composure when she sings “don’t forget me, I beg.” Lyrically and musically, it’s quite simple but in it’s simplicity it’s resonated with millions because of how relatable it is. It’s a marvelous song about heartbreak that evokes such an intense sense of pain. It’s a perfect ballad and one that will be remembered for a very long time. Adele covers another track and this time it’s If It Hadn’t Been For Love by the Steeldrivers. There’s a slight fading effect on her voice which makes it sound like a live recording and it adds to the overall mood. The old school country groove is delightful as are her soulful vocals, “never woulda hitch hiked to Birmingham/if it hadn’t been for love/never woulda caught the train to Louisiana/if it hadn’t been for love.” The music doesn’t change in the chorus but her voice moves to a higher register and her background vocals kick in. It’s not a favourite but I like its calm sound and her vocal runs at the end are pretty.

Continuing on with the covers is Hiding My Heart by Brandi Carlile. Introduced by a laid-back acoustic guitar, it’s very similar to the previous song in terms of the feel that the acoustics set up but it’s more emotional. The song isn’t as brilliant as her original material but it’s a very nice listen. It’s calm, relaxing and fits in with the thematic structure of the album, “but like everything I’ve ever known/you’ll disappear one day/so I’ll spend my whole life hiding my heart away.” Nothing much happens so it’s not too memorable. It’s mostly just enjoyable because of her vocals. The iTunes bonus, I Found A Boy, is a huge change for Adele and has her singing about finding new love with someone else. “But I found a boy who I love more/than I ever did you before/so stand beside the river I cried/and lay yourself down/look how you want me now that I don’t need you,” she asserts in the chorus which is a far cry from the rest of the album. This is another guitar-driven mid-tempo so it loses any lasting effect because it ends up sounding too similar and lackluster to the other songs. The bridge is the best part because the tempo rises a little as the guitars become livelier and she sings more spontaneously. The final chorus benefits from the change in tempo so it does redeem itself near the end.

Conclusion: 21 is going to go down in history as one of the best albums of this decade. This isn’t just a case of hype because the album deserves everything that it has achieved. It’s been such a long time since a singer like Adele has had a tremendous impact on the music industry. Through countless awards, breaking records and making history, Adele has created an album that brings the focus back on the music and not on the gimmicks or look of the artist. It’s refreshing to see a singer not care about their looks and only care about what really matters, the music. 21 is a vast improvement over her debut in every way possible. The songs are more powerful, more emotional and her voice is out of this world. She has so much control over her voice and I love how she’s allowed it to expand on this record. There are some glorious belts and notes that she hits that she didn’t do very often on her debut. The album, like her first, does become too familiar by the time you get to the end but that’s only including the bonus tracks which are mostly covers anyway. Adele dominated 2011 and rightly so. She deserves all the success she has received and will receive in the future. She’s already become an icon and it’s not a surprise that she took the world by storm because there isn’t anyone out there right now with a voice like hers, making music that is this good.

Recommended Tracks: Set Fire To The Rain, Someone Like You, Rolling In The Deep, Turning Tables, Lovesong, One And Only and I’ll Be Waiting

Rating

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Best Of 2011: Honourable Mentions

January 14, 2012 at 12:02 am | Posted in ~Special | Leave a comment
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Last year there were so many amazing releases and it doesn’t feel right to ignore them. This post is for all the top releases of 2011 that could have claimed the title “Album Of The Year.” Not only are they the top of 2011 but some of them are the best records I’ve ever had the pleasure of listening to. I love these albums so much and I just had to make a post to honour them all. The amount of talent, new and old, last year was unbelievable.  It’s safe to say that last year destroyed the music releases of 2010. The variety, originality and beauty of 2011’s music are nothing short of amazing. These are not arranged in any specific order.

Nicola Roberts – Cinderella’s Eyes

Nicola had me hooked the minute she released the bratty Beat Of My Drum, displaying a fresh new sound for 2011. She demonstrated to the world that she wasn’t just the quiet ginger that Girls Aloud pushed to the background. Cinderella’s Eyes allowed her to be herself and showcase how amazing she could be if given the chance. Her voice is one of a kind and it may take a while to get used to but once you do, you’ll never be able to stop loving it. Her falsetto is incredible and hearing it is one of the highlights of the album. She released the most original album of the year. Songs like Gladiator and Take A Bite throw you into a world hardly explored by pop artists while the personal and tragic sticks + stones is the icing that tops it off. Try listening to it and not get teary-eyed. There is no other album that comes close to how experimental this album is. She didn’t release for the fame because if she did she would have played it safe. She clearly set out to offer something new and the risks she took are commendable. If you haven’t already had the chance to listen to it, I urge you to do yourself a favour and experience this amazing work.

Katy B – On A Mission

British female singers dominated 2011 and Katy B’s On A Mission boasts some of the best dance music to come out in years. This BRIT school graduate dabs into some exciting genres ranging from dubstep, R&B, house and garage. Her album sounds like it was created in the depths of the underground in England. She’s unlike other pop artists for the simple fact that she makes real, relatable club music. This isn’t your typical electropop dance music. Her music is centered on what it actually feels like to be in the midst of a crowd, dancing and feeling the music with every single one of your senses. Katy On A Mission, Easy Please Me and Broken Record are examples of that while Witches’ Brew attracts attention with it’s American appealing production. Not only does she have some of the hottest productions ever, she’s also an excellent singer and Go Away shows just how amazing she is. The album is a non-stop party and even the slower tunes have rocking beats. It’s not everyday an electropop artist has a voice like hers and she proves you don’t have to use auto-tune/vocoder to make good music. On A Mission is a throw back to when music had integrity and didn’t rely on cheap tactics to sell.

Adele – 21

What would a “Best Of 2011” list be without Adele? She single-handedly slayed every chart in 2011 and was the most talked about artist. Rolling In The Deep and Someone Like You were some of the most successful songs of the year and they’re definitely up there as the best. This wasn’t a case of a singer being overhyped because she had the album to back up the success. Without a doubt, she is the best vocalist to come out in years. While electropop was dominating, she came out of nowhere and released a soulful album that captured the hearts of millions. 21 is filled with music that everyone can relate to, my favourite song being Set Fire To The Rain. Her appeal transcends demographics and this is the reason for her massive success. She doesn’t use gimmicks or crazy fashion to get attention. She keeps it simple, something that many artists these days aren’t able to do. Adele is a talented artist who deserves all the success she has received and will continue to receive. No one has made heartbreak sound this good.

Kelly Clarkson – Stronger

Stronger may have not been a change from her usual material but it was definitely much more mature than her past releases. It’s not overly pop or dark. It’s a balanced record that contains great songs. Kelly, once again, does a little bit of everything and succeeds in all the genres that she touches. Mr. Know It All was such a different sound for her to return with but it was good. This isn’t the most creative release of the year but she sticks to what she’s comfortable with and that’s what I’ve always loved about her. Her music never lacks heart and Stronger continues that trend. Unlike her past releases, this album sticks to a single theme and each song revolves around it. There’s still fun songs like You Can’t Win and Don’t Be A Girl About It as well as ballads fans have come to love from her, Honestly and The War Is Over. All the songs share a similar sound which isn’t a bad thing because there isn’t any token rock or dance song. It’s all very cohesive and every song brings something new to the album.

LIGHTS – Siberia

LIGHTS ventured into a grittier and dubstep influenced sound with her sophomore release, Siberia. As a result, her music received a polish that it didn’t have before and the production was so much edgier. It’s quite a dark album but there are still some light moments that are reminiscent of her past release but they received a massive surge of vibrancy. The lighter songs, Banner and Peace Sign, are enthusiastic power anthems of hope and love. Flux and Flow and Suspension are the best songs she’s ever done and I still love them to death. I was happy to see her include more ballads as well. And Counting… is so stunning and its romantic air is simply adorable. Her little voice grew during her break and she reached new heights with it, hitting notes I never thought she would sing. It’s an understatement to say that this is a good pop record because it’s more than that. She fought with her American label that wanted to mold her into a clone and released an album that she could be proud of. As a fan, that’s all I can ask for in an artist.

Evanescence – Evanescence

Gothic rock made a return when Evanescence released their long-awaited album and it was so worth the wait. Sure, it may have been overly cohesive but it was filled with brilliant hard rock masterpieces. Lost In Paradise, Swimming Home, My Heart Is Broken and Secret Door are out of this world and Amy’s haunting voice is so special. She sounds like an angel and they’re the most melodic ballads I’ve heard all year. The whole band came through on each track and that was something new for them as the focus has always been on Amy. They were more intense and aggressive with their productions which led to more headbanging anthems from the band, Oceans and Never Go Back are the bands classic sound mixed with a new energy. Evanescence is truly a unique rock band as they push the envelope time and time again. They’re not afraid to experiment but they’re also not afraid to hold back and stick to their roots. The feeling of having a band I adored when I was younger make a successful comeback is indescribable. It’s such a great feeling and I’m so happy for them.

Lady Gaga – Born This Way

Born This Was may have been an overhyped mess for some but for me it secured my love for Lady Gaga. The songs were interesting, daring and so infectious. Heavy Metal Lover, Scheiße and Government Hooker are the album highlights and her best songs. The religious themes left a bad taste in some people’s mouths but she’s not the first and certainly won’t be the last artist to use religion in music so I don’t see what the big deal is. Moreover, only a few of the songs use these themes so it’s not really an issue and they’re some of the best songs on the album, Judas, Electric Chapel and Bloody Mary. Most of the songs deal with the album’s major concern which is about not being ashamed of who you are. The 80s and European pop influences are a breath of fresh air. Gaga is heavily inspired by the 80s and this album is full of throwbacks to the era. It’s a look into her past and her teenage life, making her more accessible on a personal level.

Sophie Ellis-Bextor – Make A Scene

I heard of Sophie a few years back but I never heard any of her music until last year when I found out Richard X, a producer who worked with Rachel Stevens, produced a song for her called Starlight and it was a synth masterpiece. Make A Scene turned out to be a deliciously crafted electropop album. Everything from the up-tempos to the symphonic ballads utilizes synths in magical ways. Her music is very European so except some fantastic slices of disco heaven. Bittersweet is a melodic song that touches the border between mid-tempo and up-tempo, Heartbreak (Make Me a Dancer) is the type of song that doesn’t let you stop moving and Dial My Number, my favourite, is hardcore synthpop. These are massive songs designed to get you to dance but Sophie’s not afraid of slowing down and getting sensual, Synchronised being proof of that. The title track, Make A Scene, is a quirky concoction of beats, something that seems like it shouldn’t work but does. Make A Scene is her best album yet, providing the finest slice of European pop you can hear.

Simon Curtis – R∆

As I’m sure you’re all aware, I don’t praise male artists that often but Simon Curtis is an exception. He released R∆, his second album, and it was a blast of excellent electropop hits. His first album was amazing and it’s not everyday you hear a male vocalist singing this kind of pop music. He’s been regarded as a male alternative to Britney Spears so expect heavy dance tracks. Flesh is the hottest and dirtiest song released last year and it’s a must-hear. What makes him so remarkable is that he’s not signed to a label. The amount of work he puts in to his albums is incomparable to someone who has a huge label backing them up. Despite this, his music never sounds low budget and it’s one of the best releases of the year. Compared to his debut, the music is darker, better produced and there’s more variety. It’s not a departure from his previous sound but it’s an improvement and that’s all that matters.

Ro Danishei – End of the Rainbow

Ro is another unsigned artist and a friend of Simon’s. She also shares a love for electropop and she’s just as talented. End of the Rainbow was a fantastic surprise and boasted some of the catchiest songs of 2011. Later in the year, she released it on iTunes with brand new songs and remixes. The new songs were just as catchy and they made the album better. Even the remixes were well done and weren’t the type of lame remixes that most artists tack on to fill space. They brought a different feel to the song that was enjoyable and certainly very interesting. The album as a whole is strong and dominated by songs that long for the dance floor. Blackout and Baby Doll are club hits that force you to move to their delicious beats. Her collaborations, Michelle (feat. Simon Curtis) and Wicked Baby (feat. Simon Curtis), are the best pairing of artists I’ve ever witnessed. They’re a match made in heaven. She may not be the greatest vocalist but she knows how to use her voice and doesn’t try to be anything that she’s not. She makes feel-good dance music that’s meant to be fun and exhilarating which is exactly what this album is.

Genki Rockets – GENKI ROCKETS II -No border between us-

Genki Rockets blew their debut away with their second album, GENKI ROCKETS II -No border between us-. Dropping their virtual sound, they opted for a more realistic approach to their music and look which benefited them greatly. The heavy use of vocoder was dropped and Lumi’s natural voice was granted the freedom to breathe. Furthermore, there was also a focus on organic instruments that raised their melodies to unbelievable heights. There were still tons of synths but they worked with the organics to produce infectious songs. Curiosity, Touch Me and make.believe are excellent electropop songs, the best from Japan, and they show off their new style perfectly. Their first album was based on the concept that Lumi was born in outer space and wanted to come to earth. This one gives the impression that she, in some way, has made contact with earth which explains the emphasis on natural elements. I honestly thought that I wouldn’t hear from them again but I’m so glad I was wrong because this album is incredible.

Namie Amuro – Checkmate!

This is the only compilation on the list but there’s no denying how amazing Checkmate! is. Namie is always spot-on with her collaborations and to have an album of them is a fans dream come true. She didn’t just release an album of old material though. She packaged five brand new songs that were unique and unexpected collaborations. Finally having Luvotomy / m-flo loves Namie Amuro and BLACK DIAMOND / DOUBLE & Namie Amuro on a Namie album was a great treat. Despite having some old tracks included, I never heard many of them so most of the album felt new. There’s a lot of variety and it shows all the different musical trends she’s gone into. She’s extremely versatile and the album shows that in the best possible way. Her collaborations are amazing and they should not be missed.

Best Of 2011: Readers’ Choice

January 14, 2012 at 12:01 am | Posted in ~Special | Leave a comment
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Firstly, I’d like to thank everyone who participated. I suddenly felt like trying something different and thought it would be interesting to see what everyone else loved about 2011. I’m honestly not surprised by any of the results and all of the winners will show up, in some way, in my own lists. I’m not going to comment on any of the results here because, like I said, I’m going to talk about them anyways.

Best Single

Brown Eyed Girls – Sixth Sense

Runner-up: 2NE1 – I Am The Best

Best Video

Brown Eyed Girls – Sixth Sense

Runner-up: Katy Perry – E.T. (feat. Kanye West)

Best English Album

Adele – 21

Runner-up: Britney Spears – Femme Fatale

Best Japanese Album

Ayumi Hamasaki – FIVE

Runner-up: Maki Goto – Ai Kotoba (VOICE)

Best Korean Album

Brown Eyed Girls – SIXTH SENSE

Runner-up: Wonder Girls – Wonder World

Congratulations to all the winners and I hope everyone is happy with the results!

Best Of 2011: Reader’s Choice Polls

December 30, 2011 at 11:54 am | Posted in ~Special | Leave a comment
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I wanted to try something different with my “Best Of 2011” posts so I decided to make some polls to get you all involved! This is completely separate from my own “Best Of 2011” posts which will be up next week. The polls last for one week and they’re multiple choice so you can vote for three options. I tried to make them as inclusive as possible and tried to add albums other than the ones I’ve enjoyed. I hope you all participate!

Adele – 19

December 18, 2011 at 9:15 pm | Posted in Adele | Leave a comment
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  1. Daydreamer
  2. Best For Last
  3. Chasing Pavements
  4. Cold Shoulder
  5. Crazy For You
  6. Melt My Heart To Stone
  7. First Love
  8. Right As Rain
  9. Make You Feel My Love
  10. My Same
  11. Tired
  12. Hometown Glory
  13. Painting Pictures
  14. Now And Then
  15. That’s It, I Quit, I’m Moving On

With the buzz surrounding Adele this year, I knew I had to finally give 19 a shot. I heard many things about it when it was released but I never ended up even checking it out. After listening to her sophomore record, I didn’t even need to think twice and immediately went to see what I had been missing. Adele boasts a voice like no other. Delving into blues, jazz and pop, she brings her own unique twist to these genres and puts her spectacular songwriting skills on display. Only nineteen when the album was written, the reason for its title, she exudes a confidence and maturity that many other young artists lack. This might translate to some that she’s boring but that is far from the truth. Of course, you won’t find any up-tempos here but what you get is a well-crafted record detailing the experiences of a woman coming of age.

Daydreamer comes in showcasing Adele’s vocal prowess as she performs over a simplistic guitar and piano melody. “Daydreamer/sitting on the sea/soaking up the sun,” she sings, using her deep timbre to lure the listener in. The instrumentation takes a back seat and the focus lies on her vocals. The entire track is carried by her voice and she’s a pleasure to listen to. She truly has an exceptional voice that’s distinct and her high register in the chorus is angelic. The way she stretches and expands the words is beautiful, “you can find him/sitting on your doorstep/waiting for a surprise/and he will feel like/he’s been there for hours/and you can tell that he’ll be there for life.” What a simple and fresh way to start things off. Adele flutters into jazz for the retro and delicious Best For Last. The composition is engaging, heavy guitar chords are the key player, and her sweet performance is outstanding. Adele makes it highly addicting and actually quite playful. About halfway into the verse, the guitars crescendo to a groovy beat and the tempo increases once again in the phenomenal chorus. “You should know that you’re just a temporary fix/this is not rooted with you/it don’t mean that much to me/you’re just a filler in the space/that happened to be free/how dare you think you’d get away/with trying to play me,” her voice dances to the infectious beat which adds a funky piano and drumline. The backing vocals support her voice wonderfully and they really enhance the overall feel. It’s great to see her play around with jazz and the happy air it emits is contagious. The gem of the album, Chasing Pavements, was the first song to truly stick with me. The verses consist of a touching piano and guitar melody, later including percussion, while Adele sings calmly. Her emotional vocals soar in the chorus and the soft melody is replaced by grandiose strings, “should I give up?/or should I just keep chasing pavements?/even if it leads nowhere/or would it be a waste/even if I knew my place.” It’s stunning and Adele sounds unbelievably amazing. Everything works so well in the chorus and it ends up being one of those songs you’ll be humming all day. Her mature voice shines through this number and the punch in the chorus is so great and captivating. It’s a wonderful song that shows off her chops and her beautiful songwriting.

Cold Shoulder boasts an interesting intro that consists of vibrant drums and stuttering strings. Her soulful voice joins the beat and works its magic as she effortlessly takes control of the song. The instrumental is quite upbeat for the lyrical content but it works and I love her energy, “you grace me with your cold shoulder/whenever you look at me I wish I was her/you shower me with words made of knives.” Between the chorus and verse, there’s a dramatic sequence of strings that’s very cool and totally unexpected. Continuing with the surprises, the bridge turns into a loud instrumental clash while she sings using a raspy tone. I didn’t expect the song to sound like this but I love it. Crazy For You is another throwback and it has a slight country vibe to it. This is similar to the first track because it has a minimal instrumental and focuses more on the vocals. Her powerful vocals glide along the light guitar chords and it sounds really nice. I don’t find it as astonishing as some of the other songs but I do enjoy it for the most part. The chorus is definitely the highlight due to the delicious manner she sings “crazy for you.” Her high tone is breathtaking and she puts so much emotion into her voice that it sounds like it will crack at any moment. Her voice is flawless and I wish the instrumental was a bit more engaging but regardless, it’s still a good track. Melt My Heart To Stone is a gorgeous mid-tempo. It comes alive as it progresses and moves from a piano arrangement to include a drum beat in the second chorus which makes it stand out. The first verse dazzles with its strings and her vocals are a blend of high and low tones that leave me speechless. I love the way her voice stretches to reach the high notes and it just sounds unreal, “and I hear your words that I made up/you say my name like there could be an us/I best tidy up my head I’m the only one in love.” The bridge brings all these great elements together and raises them into a beautiful, vibrant sound.

A charming music box opens First Love which is the only melody that is utilized. Although not a favourite, its cute melody is hard to resist. I’m not surprised that the lyrical content is saddening, “this love has dried up/and stayed behind/and if I stay I’ll be a lie/then choke on words I’d always hide,” but a part of me believed that this would be a sweet song. Nothing really happens and that’s why I have a hard time getting into it. It’s basically the same from start to end and you end up hoping for something to happen. Right As Rain brings a much-needed funky blues beat and livens the album up after the last few somber tracks. Adele opts for a more feminine singing style and its addicting paired with her soulful tone. “‘Cause when hard work don’t pay off/and I’m tired there ain’t no room in my bed/as far as I’m concerned/so wipe that dirty smile off,” her voice crescendos to the fun piano and drum instrumental. I love the old school vibe that comes out of the gritty jazz beats and backing vocals in the chorus. The end marks the first time she shows off the belting side of her voice and it’s wonderful. I’m surprised she hasn’t hit that many belts but, in a way, that’s what makes her refreshing. Adele covers Bob Dylan’s Make You Feel My Love next and her rendition is great. All that backs her up is a piano and it lets her luscious voice take center stage, “when the rain is blowing in your face/and the whole world is on your case/I could offer you a warm embrace/to make you feel my love.” Her delivery is simple yet incredibly passionate and emotional. There are some moments where the backing vocals support her and they’re very tender. I love how smooth this track is and her dreamy vocals glide easily to the melody. Near the end, strings are added to expand the arrangement and she adds just a bit of strength into her vocals. I can see why she likes this song and she really makes it her own. Its content really fits with the rest of the album.

I wasn’t expecting My Same to be introduced by weird vocalizing, “aye aye,” but it definitely help it stick out. It’s filled with a retro beat that has a distinctly modern flair due to its quirkiness. I knew I was going to enjoy this right when I hear the intro and it’s such a great tune. Adele sounds like she’s having a blast as her voice bounces to the guitar. I adore the last lines of each stanza because the backing vocals come in and she plays with her vocals as she alternates between different tones, “you’re so provocative I’m so conservative/you’re so adventurous I’m so very cautious/combining you’d think we wouldn’t but we do.” Her kooky vocalizing shows up again during the bridge for a while until she switches up to some very impressive runs. I like this song a lot and it’s one of the most memorable. Tired is similar to the rest of the album but at the same time it’s different because it’s the only one to use synths. The synths are barely used in the verses, a drum and guitar beat dominates them, but during the chorus they come to life, “I’m tired of trying/your teasing ain’t enough/fed up of buying your time/when I don’t get nothing back.” Furthermore, the second chorus features brighter synths as they’re joined by a set of strings that raise the atmosphere. In the bridge, the tempo gets a drastic reduction and the light electro beats fade for a symphony of strings that are accompanied by her haunting whispers. It gives the song an interesting layer which prevents it from being predictable and helps it stand out a bit more. The album ends with the song that introduced Adele to the world, Hometown Glory. What starts as a delicate breeze of a piano soon fleshes out into a warm melody that finds her singing about her love for her home. Adele’s voice is rich and deep with emotion, getting more vulnerable as the song moves on. Once in the chorus, her voice takes on a husky tone that conveys a sense of nostalgia and affection, “round my hometown/memories are fresh/round my hometown/oh the people I’ve met/are the wonders of my world.” What’s more amazing is the high vocalizing that she does at the end. This is a very comforting song and a gorgeous conclusion.

On the Japanese release, three additional songs were included and the first is Painting Pictures. There’s a brooding feel contained in the instrumentation, at least for the start, and it’s a nice change of pace. Her vocals have some aggression in them which compliments the dark arrangement and the way her voice sharpens when she sings “I want to feel my heartbeat so/with the world that you feel/leave” is incredible. Most of the music fades so it’s almost like an a capella moment and the music comes back but it’s a completely different beat. The second half is upbeat and it has a slight rodeo groove as she delivers a much more energetic performance. It’s a shame it didn’t make it on all versions of the album because it’s a very strong track. Now And Then offers the same old and it’s nothing extraordinary. Like most of the album, it consists of a soft acoustic guitar and that’s pretty much it. The final chorus is the best part because her tone and the backing vocals give it a fuller feel, “‘cause hearts break and hands wave/to make us grow fonder/then our eyes cry and souls sigh/so that we know that it hurts.” The Sam Cooke cover That’s It, I Quit, I’m Moving On is the shortest track on the album, coming in just over two minutes. This is practically a throwaway track even though it’s decent. I can’t fault the vocals or the production because it’s a nice simple song but it’s boring, especially since there are other tracks that do all these things much better. The short length doesn’t help either because it makes it hard to get a grasp of it.

Conclusion: 19 is a great album that is slightly brought down by a few songs that don’t meet their full potential. When Adele gets it right, she slays. The album is packed with emotion and her real life experiences which makes it all the more beautiful and tragic. Due to the album’s heavy lean towards a certain sound, some of the songs do come close to sounding similar and it affects the listening experience. When you get to the end you feel as if you’ve already heard all that it has to offer. Adele’s vocals shine throughout though as she showcases her deep, rich and passionate instrument. The songs that I’m not too crazy about are still worth listening to just because of her voice. Sometimes singers with big voices end up falling into a stereotypical sound that prevents me from enjoying them fully. Adele is a strange case because that didn’t happen with her for me. I actually fell for her quickly and this album is a great introduction to her music.

Recommended Tracks: Chasing Pavements, My Same, Best For Last, Right As Rain, Painting Pictures, Cold Shoulder, Daydreamer and Melt My Heart To Stone

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