Adele - 25

When the lyrics from the opening verse of Adele's behemoth new single 'Hello' were spoken atop a black screen in the commercial break for the 2015 X Factor, the internet went into cardiac arrest. The unmistakable voice of our greatest musical export was the Christmas present everyone wanted but didn't expect. Within a fortnight information was flowing out of Adele's camp and most notably that of a new album, following her timeline theme, titled 25.

The album sticks to what Adele does best, lovely, pain filled balladry about decimated relationships. There's a maturing in the sound though, so it doesn't ever feel like a rehash of 19 or 21, which is a relief. Where she's singing about craving a lost love it doesn't feel bitter and 'I Miss You' is a gorgeous example. Thumping percussion and haunting vocal flutters decorate an incredibly emotive performance. Then you have the Ryan Tedder collaboration 'Remedy', a radio friendly piano lead number with one of the most memorable melodies in Adele's catalogue of work.

Tedder isn't the only big name helping with this opus, Adele's also roped in the likes of Bruno Mars, Sia producer Greg Kurstin and Swedish pop wizard Max Martin (responsible for 'Baby One More Time'). Her store of musical talent is brimming and the results reflect the calibre of those penning the lyrics and twiddling the studio knobs. Kurstin produced Sia's massive 1000 Forms of Fear, his knack for haunting penmanship clear on colossal single 'Hello' which features one of Adele's most authentic and mind blowing vocal turns. He has input on the heartfelt and revealing 'Million Years Ago', soaring vocals above a stripped string arrangement that wouldn't have been out of place on 21. It's a stunning reflection on Adele's journey and the life she's lost in becoming the most successful artist on the planet. However, it's on 'Water Under the Bridge' that Kurstin's skills shine through most brightly. The tempo jumps and the synth clicks and blips explode on the euphoric chorus as Adele sings "Say our love ain't water under the bridge", on what may be one of the top five songs Adele's ever created.

Adele's voice is her instrument, it's what carries you through an entire album without skipping. When that's combined with incredible productions you have the recipe for perfection that so many artists can't get a grip on. 25 not only showcases how much her vocal range has expanded (the emotional 'When We Were Young'), it also showcases a slight change in direction or at least brief detour here and there. Max Martin's presence seems baffling at first but the result is the wonderfully infectious and bouncy 'Send My Love (To Your New Lover)', the most fun Adele has ever seemed to have on any of her three albums. It hops along with a reggae-pop bounce and the catchiest chorus on 25. Then you have 'River Lea', a collab with one half of Gnarls Barkley and what an effort it is. One of the year's most impressive songs and when she drops into the low octaves for the bridge you're engulfed completely.

With 30m copies sold, 21 was always going to be a tough album to beat. Well, it would be if you were anyone other than Adele. She is replicating the success of the likes of Madonna and Mariah Carey, artists who sold 10m copies per album consecutively, something few every achieve even once in their career in the 00s. Her general likability and the relatable material she continues to pour out into the world, a self exposé of sorts, plucking the heart strings of music lovers all over the world. 25 is a step forward enough to cement it as a body of work in its own right, with producers you'd never expect Adele to pair with and sounds you'd never think you'd hear on an Adele album. It was both expected and not expected, with her heartbreak ballad crutch still popping up here and there, but there's enough new here to make it a brilliant stage in her remarkable career.

5/5