UPDATE: Adele is on the cover of Vogue US and Vogue UK. Of the two stories, the American is far superior. Hats off to Abby Aguirre for at least getting some information on the new music (even if it sounds a bit like old music). But both Vogues at the same time? The push is on!
Adele is on the cover of Vogue in November.
The mega splash is tied to the release of his album “30” on November 19 and the single on October 15.
The single is called “Easy on Me”. But nobody is going easy with this album. Thrust is activated to do “30” a monster hit. (The idea is that Adele isn’t going to make it easy for the person she’s singing with, probably her ex-husband.)
The album contains songs produced or written by Inflo, a disciple of Danger Mouse, as well as Swedish pop wizards Max Martin and Shellback; the Swedish composer Ludwig Göransson; and Canadian singer-songwriter Tobias Jesso Jr., on a “very powerful song” which she describes as “an Edith Piaf-y moment”. As with her previous albums, the vocal tracks are original demos because, she explains, the demos have a charisma and urgency that gets lost if you re-record them. “I never do my voice again. Never. Never again.”
Greg Kurstin, famous for “Hello”, wrote “Easy On You”. It seems that most of the songwriters on “30” are the same as on “25”. Why play with a successful formula?
From the story: “The first song she plays is the first song on the album, a heart-wrenching plea from a piano ballad, the chorus of which reads,” Take it easy baby / I was still a child / Did not have the chance to / feel the world around me. Her voice does various Adele impossible things with the chorus “take it easy”, and although she starts to take on a euphoric tone … “
Another song: “A certain combination of elements – sexy 70s groove, heavy strings, heavier lyrics – immediately reminds Marvin Gaye. (Turns out What’s Going On was a “really big reference” on the album.) “My little love,” Adele sings in a low, smoky register. “I see your eyes / Widens like an ocean / When you look at me / So full of my emotions.”
I’m not sure if I will survive another of Adele’s new songs, but as she plays four more it becomes clear that they chart a progression. The next one is cathartic, a touching promise of a new love that has its repeated variations of, “I just want to love you for free / Everyone wants something from me / You just want me.” The fourth song is downright upbeat, meant to be a respite from laughter while you cry from the heaviness – “Otherwise, we’d all kill each other, wouldn’t we?” Next comes a happy hymn. On an evangelical organ, she sings: “May time be patient / May pain be gracious. Towards the end, a choir of his friends rings out singing “Just hold on, just hold on” over and over again. “What they all sing is what my friends used to tell me,” says Adele. “That’s why I wanted them to sing it, rather than a real choir.”
“The last song she plays is the last song on the album. It was written and recorded while a television in the studio was playing Breakfast at Tiffany’s on mute, she explains. “At the end, we were trying to figure out how to end the song, and I said, we should write it like we’re writing the soundtrack – you know, at the end of the movie, where that goes.” The arrangement is whimsical and retro, full of strings, vibrato and mid-century romance, but the lyrics offer a subversive touch. The first line: “All your expectations of my love are impossible. “