Tag Archives: albums

Arachnophonia: Adele “25”

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Ibrahim (class of 2028) and features Adele’s 2015 album 25. Thanks, Ibrahim!

Adele

25

Adele’s 25 is more than just an album; it is a deeply emotional work of art, in such a way that love, heartbreak, and self-discovery are so well elaborated. This record would go on to achieve cultural phenomenon status in November 2015 by setting records and deeply resonating with people all over the world. To me, 25 poignantly touches on how we go about the passing of time and the relations shaping us.

“Hello” led off the album with raw emotion, powerful vocals barely contained, as if the heart were calling to the past, reconnecting with parts of ourselves we may have left behind. It’s a recurring theme throughout the album, approached so well that this record can be related to by nearly anyone. Songs like “When We Were Young” have a bittersweet ache of nostalgia, while “Million Years Ago” distills the longing for simplicity in today’s convoluted times.

What really makes 25 different is inimitable: the way Adele converts her vulnerabilities into captivatingly beautiful songs. Be it the melancholy of “All I Ask” or the uplifting rhythms of “Send My Love (To Your New Lover),” each song narrates a story of rising above the storm. It is an album for contemplation and solace, upheld for its honesty.

Adele herself describes 25 as a “make-up record,” one that came to reconcile the past into embracing the future. It’s an album that expresses great balance between heartbreak and hope in a swell manner, revealing her growth both as an artist and a person. If anyone’s looking for a soundtrack to his journey of self-discovery, then 25 would be an eternal selection.

Be it for the old-time fan of Adele or just a new listener, this album is definitely not to be missed. This just proves that around storytelling in music, there is always something to surprise you, and in the most broken moments, too, there will be beauty found.

“There Are Places I’ll Remember …” – The Beatles’ Rubber Soul turns 50

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The Beatles - Rubber Soul

Rubber Soul is the sixth album released by the Beatles. It was issued in the UK on December 3rd, 1965, fifty years ago. (And was released in an altered form in the US on December 6th, 1965.) The album was the first album the Beatles recorded during a continuous period (between October 12th and November 15th, 1965) instead of being recorded piecemeal between tour gigs. This gave the band an opportunity to craft an album that was a more cohesive and introspective unit. Rubber Soul‘s 14 songs (11 composed by John Lennon & Paul McCartney, 2 composed by George Harrison and 1 written by Lennon, McCartney and Ringo Starr) are stylistically diverse, incorporating elements of R&B, folk rock, pop, soul and psychedelia. It is also the first Beatles album to NOT include any cover songs (i.e., songs orignally written and recorded by other artists).

Rubber Soul was unique for many reasons. The Beatles were beginning to experiment with lyrics that were not necessarily about boy-girl romance and are more lyrically sophisticated than songs like “She Loves You“. “Nowhere Man” isn’t about romance at all — a first on a Beatles album.

The group also experiments with incorporating unusual instruments (for the time) and sounds onto the album. George Harrison’s use of the sitar on Lennon’s “Norwegian Wood” helped to spark a musical craze for Indian instruments in pop music. Other “world music” influences are evident in the jazzy French style of McCartney’s “Michelle” and a Greek flavored accompaniment on Lennon’s “Girl” (with acoustic guitars standing in for bouzoukis). “In My Life” features an instrumental bridge with a Bach-like passage played on piano, but sped up to sound like a harpsichord.

The Beatles’ willingness to experiment in the studio was a feature of their work that would continue to develop by leaps and bounds over their next couple of albums. The spirit of experimentation even extended to the album cover itself, which featured a distorted image of the Fab 4 and, unlike most pop albums of the time, did NOT feature the name of the band on the front cover.

Rubber Soul remains a fulfilling album to listen to and to quote music critic Walter Everett, “was made more to be thought about than danced to, and this began a far-reaching trend.”