With so much predictability, music needs more pleasant little surprises. One of these was “Homesongs,” the first album by Adem. Adem was known mostly through Fridge, the UK instrumental post-rock trio (which also produced Kieran Hebden, aka IDM maven Four Tet). So one could hardly expect a collection of mature, instrumentally diverse, sincere folk pop songs. “Homesongs” was sort of like Coldplay with the pop chops but not as heavily dramatic or sappy. It was an unexpected pleasure: a good album that had no concern with being cool. What we have on Adem’s follow-up, “Love and Other Planets” is, more or less, the same exact thing. If it ain’t broke, don’t fix it, eh? Well, yes and no. “Love and Other Planets” is good, but ultimately less satisfying than “Homesongs” because the songs aren’t quite as strong.
One of Adem’s most endearing qualities is that he plays all of the instruments himself, including unconventional instrumentation such as the autoharp and concert bells. These flourishes add a nice texture to his songs. Likewise, his songs are tuneful and assuming yet have a way of catching in your brain. All of those elements are on display here. “Something’s going to come” channels Belle & Sebastian’s later large-writ pop. “X is for kisses” features a wonderful hushed background vocal that, along with the bells, makes for a festive sound. The standout track, “Launch Yourself,” is perhaps the biggest departure from “Homesongs.” Over a slippery (acoustic) drum and bass groove, Adem weaves a hypnotic harmony. It’s more Postal Service than I’d ever expect, but it works. The other dance-y track, “You and Moon” isn’t quite as successful, but does feature a chorus with some intriguing sounds resembling a music box.
As the album progresses, however, the songs fall more in line with what we have heard previously, and that is strangely disappointing. Adem writes a pretty little folk song such as “Sea of Tranquility,” but here the tune isn’t as memorable as something like “Cut” from “Homesongs.” “Crashlander” owes more of a specific debt to Coldplay (in this case “The Scientist”), especially when he ascends to a Martin-esque falsetto, whereas Adem’s other material would only suggest the Coldplay style. Adem can also occasionally fall victim to overly sincere sentiments, such as on the first album’s “These Are Your Friends.” However, the tuneful momentum of that song saved it, while the comparable track here, “These Lights are Meaningful,” doesn’t fare as well.
The album rebounds on the hauntingly exotic closer “Human Beings Gather ‘Round,” built around accordion and bells. As such, I’m relatively split about “Love and Other Planets.” It definitely has some strong reminders of Adem’s considerable and inventive songwriting, yet it also sputters in a way that “Homesongs” never did. Perhaps not all surprises are welcome, after all. |