7.18.12 Rehearsing new songs!! More news
Jul 18, 2012 3:41:12 GMT -5
Post by gelly14 on Jul 18, 2012 3:41:12 GMT -5
musosguide.com/adam-lambert-trespassing/22348
Adam Lambert – Trespassing
Sexuality is currently a hot topic in popular music. Frank Ocean has announced he is bisexual, news which coincided with his highly anticipated Channel Orange album, a release that is being analysed by music journos and fans alike purely to see if there are any clues there about Frank’s private life. It appears Channel Orange is being judged under a new criteria, as reviews hit repeat on each song, listeners try to dig for clues about whether each song is sung for a bloke, or a chick.
Some have said that Frank’s declaration was brave; others have accused him of using his sexuality to sell the album, to get his name out there. When Adam Lambert was a contestant on ‘American Idol’, he finished runner-up to the clean-cut heterosexual Kris Allen. In the middle of that season of the reality competition conservative Americans were confronted by the possibility of a gay Idol winner. People speculated – is he or isn’t he?
For Adam Lambert, during the competition it likely didn’t matter. Lambert, like so many others who have competed on such talent shows, had to make every moment on stage count, they couldn’t afford to be distracted by talk about their sexuality, about ‘coming out’. It didn’t seem important at the time because there was a lot more at stake. Did Adam need the burden of becoming a gay rights spokesman whilst on a quest to change his life and live the dream of becoming a pop star?
Unlike his first album, which struggled to capture Adam Lambert on his own terms, Trespassing has character. It is fun, hedonistic and on a quest for pleasure – a blend of heartfelt ballads, and MDMA fuelled club fodder. The album is bombastic, and flamboyant, everything that you would expect from Adam Lambert. The title track opener represents what might happen if you were able to crowbar your way into Lambert’s IPod and scramble the components, the song is a heady mix of vintage Queen baselines, Neptunes production circa ‘Hollaback Girl’ and Lambert’s trademark glittery vocal theatrics. Tracks such as ‘Kickin’ In’ roll around in fake tan and hairspray to thrusting tropical (likely that’s just the flavour from shots poured at the bar) electro beats. Pharrell Williams production, although on the wane, still just about works in a sweaty club inspired setting. ‘Pop The Lock’ is probably the finest of the up tempo tracks, because it is mish mash in the way most dance pop radio dominators are in 2012.
There are tracks that deal with the personal, for example ‘Broken English’ which appears to address Adam’s relationship with Finnish TV Personality Sauli Koskinen – the song talks about people from cultural different backgrounds who don’t share the same native tongue and therefore struggle to express their true feelings, though suggesting this problem can be solved through physical (sexual?) communication. The proud march of ‘Runnin’, the oil slick emotional outpouring on ‘Outlaws of Love’ and the poignant ‘Underneath’ showcase Lambert’s abilities to let his vocals carry the show as opposed to mindlessly wailing over excessive electro beats.
more
Adam Lambert – Trespassing
Sexuality is currently a hot topic in popular music. Frank Ocean has announced he is bisexual, news which coincided with his highly anticipated Channel Orange album, a release that is being analysed by music journos and fans alike purely to see if there are any clues there about Frank’s private life. It appears Channel Orange is being judged under a new criteria, as reviews hit repeat on each song, listeners try to dig for clues about whether each song is sung for a bloke, or a chick.
Some have said that Frank’s declaration was brave; others have accused him of using his sexuality to sell the album, to get his name out there. When Adam Lambert was a contestant on ‘American Idol’, he finished runner-up to the clean-cut heterosexual Kris Allen. In the middle of that season of the reality competition conservative Americans were confronted by the possibility of a gay Idol winner. People speculated – is he or isn’t he?
For Adam Lambert, during the competition it likely didn’t matter. Lambert, like so many others who have competed on such talent shows, had to make every moment on stage count, they couldn’t afford to be distracted by talk about their sexuality, about ‘coming out’. It didn’t seem important at the time because there was a lot more at stake. Did Adam need the burden of becoming a gay rights spokesman whilst on a quest to change his life and live the dream of becoming a pop star?
Unlike his first album, which struggled to capture Adam Lambert on his own terms, Trespassing has character. It is fun, hedonistic and on a quest for pleasure – a blend of heartfelt ballads, and MDMA fuelled club fodder. The album is bombastic, and flamboyant, everything that you would expect from Adam Lambert. The title track opener represents what might happen if you were able to crowbar your way into Lambert’s IPod and scramble the components, the song is a heady mix of vintage Queen baselines, Neptunes production circa ‘Hollaback Girl’ and Lambert’s trademark glittery vocal theatrics. Tracks such as ‘Kickin’ In’ roll around in fake tan and hairspray to thrusting tropical (likely that’s just the flavour from shots poured at the bar) electro beats. Pharrell Williams production, although on the wane, still just about works in a sweaty club inspired setting. ‘Pop The Lock’ is probably the finest of the up tempo tracks, because it is mish mash in the way most dance pop radio dominators are in 2012.
There are tracks that deal with the personal, for example ‘Broken English’ which appears to address Adam’s relationship with Finnish TV Personality Sauli Koskinen – the song talks about people from cultural different backgrounds who don’t share the same native tongue and therefore struggle to express their true feelings, though suggesting this problem can be solved through physical (sexual?) communication. The proud march of ‘Runnin’, the oil slick emotional outpouring on ‘Outlaws of Love’ and the poignant ‘Underneath’ showcase Lambert’s abilities to let his vocals carry the show as opposed to mindlessly wailing over excessive electro beats.
more
