Artist: Adele
Album: 21
Genre: Pop/Soul/Blues
Label: XL/Columbia

After a phenomenally successful debut foray into the music world, which saw her the recipient of thank you letters from former British Prime Minister Gordon Brown and a cluster of Grammy nominations, English jazz-pop crooner Adele’s sophomore album 21 arrives burdened with anticipation and expectation. She cuts the same graceful path as on her debut 19, keeping things light and minimal, though there are enough intermittent flashes of potency to suggest something more ambitious is at work.

In terms of musicality, there is little to distinguish this from her debut album. Everything is very bare, straight-laced, simplistic sweeping accompaniments that allow her voice to do the talking. And this is one area where Adele excels. Throughout both her debut and her new release, what strikes the listener most are the genuinely beautiful vocals that permeate the record. The relative youngster is blessed with an earthen, smoky voice that she uses to sensuous aplomb, singing with heart and conviction and warmly breathing life into her lyrics. The old-school feel of her voice has drawn inevitable comparisons with Duffy but in reality, there is little to link the pair. Duffy’s overwrought vocals are, while impressive, laden with distinctly pop sensibilities while Adele exudes refinement and sensuality. There is less emphasis on the look and style of the piece as on the story she tells, and it’s difficult not to be swept into this album wholesale, such is the soothing and intriguing tone set from the outset.

“Rolling In The Deep” kicks things off beautifully with some fun-loving percussion, setting a jazzy, sunny tone. The song is energetic and pacy, gathering momentum as it plays out, an idyllic opener that signals the surprises that lie ahead. It fades neatly into “Rumour Has It,” the song perhaps most representative of Adele’s Elle Fitzgerald and Etta James-inspired roots. It makes ample use of a rhythmic vocal refrain to complement sassy lyrics in an effortlessly catchy throwback to the feel good days of soul.

“Turning Tables” is a more straightforward, warbling pop anthem. There are some slick string supplements to go with an aching vocal line in a tune aimed directly at the masses, one almost tailor-made for the token rainy montage in a Hugh Grant film. Don’t let that put you off though; it’s more loveable than it seems. “Set Fire to the Rain” is a surprisingly accomplished little song. It starts off nonchalant, chugging along somewhat aimlessly, before coming together to unearth a powerful and demanding chorus. The asymmetrical percussion and off-kilter strings create a wonderfully discordant note as Adele uses her stunning voice to wrap everything harrowingly together.

Further down the line, Lovesong is sweetly romantic, a gentle string undertone adding a touch of classic to the vocals. The song flourishes despite being far from original or inventive, the intricate partnership between heartfelt voice and tender instrumentation infusing it with enough sentiment and relevance to touch the listener. Thereafter, “Someone Like You” is similarly poignant and similarly memorable, opening with a spine-tingling piano template that perfectly serenades the aching lyrics. The song is profound and bittersweet in its simplicity, lingering hauntingly in the air long after it has faded out.

It must be noted however, despite this unequivocal promise, that it takes a certain diffident mindset to appreciate the delicacies of these songs, and for those not quite attuned 21 could also easily be construed as boring. Vocal enthusiasts will relish the exquisite harmonizing on show here, but those in favor of more spunky fare would do well to avoid it. It’s mellifluous and charming and suits the token slow, pensive afternoon, but it shouldn’t set you on fire. Indeed, after a time it becomes a little tedious, the latter songs outstaying their welcome somewhat and straying into repetitious territory.

“One and Only” is an example here. It has nice intentions, with a choir adding a glamorous touch to proceedings, but drifts on interminably with little sense of purpose or meaning. “If It Hadn’t Been For Love” is AWOL from Take That’s last album, fairly formulaic and a bit contrived. “Don’t You Remember,” further up the tracklisting, is quite bland and saccharine, its ingredients jarring awkwardly off one another and somehow all falling flat.

In summary though, 21 is a nice little surprise. It may not always be electrifying, but it is beautifully put together, seamless, and thought-provoking. It’s compelling in a barely-there manner – that is to say, you may not find yourself bouncing off the walls while playing it, but you’d certainly miss it if it went off. If it’s not your cup of tea, it’s not your cup of tea, but it merits a listen and will no doubt find a wide audience. It’s an album of mixed moments but then again, is it not a sign of prominence when an album can alternate between spectacularly ‘blah’ and stand out brilliance? Cos if so, Adele’s played a blinder.

Score: 8/10
Review written by: Grace Duffy

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James Shotwell

James Shotwell is the founder of Under The Gun Review. He loves writing about music and movies almost as much as he loves his two fat cats. He's also the co-founder of Antique Records and the Marketing Coordinator for Haulix. You should probably follow him on Twitter.

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