Rating/Stars: 2 / 5
Adam Lambert goes dancing on his second album.
The cover for ‘Trespassing’ is quite a dull affair considering the larger than life persona Adam ‘Glambert’ exudes but a bit of restraint is a good thing at times. The truth is that ‘Trespassing’ is blander than the artwork on the album. It is another mediocre album in the sea of mediocrity that has flooded our musical culture both locally and internationally. Together with the fractured music industry, many listeners aren’t able to hear a good album anymore, due to the lack of great artists getting exposure and audiences’ dumbed down musical appreciation. How does Adam fit into such a critique? Well, here you have a really talented singer on his second album already and in terms of posterity and legacy there is still nothing in the bank musically and artistically. Adam’s powerful vocals are wasted on vapid songwriting and on many tracks he simply over powers deadbeat songs into submission. Also, by embracing the Euro dance mania that has engulfed humanity like a plague, Lambert has cheated himself out of true stardom and the artistic integrity he surely craves.
‘Trespassing’ the opening song has a cool bass line but like many numbers on the album it sounds like a composite of other popular tunes. You cannot put your finger on which other songs they blatantly steal from but it feels like musical déjà vu. Fittingly, Adam sounds so much like a singer from an eighties hair metal band when he belts on the title track. ‘Cuckoo’ and ‘Never Close Our Eyes’ start the dance segments i.e., fodder for the over-stimulated download generation. Certain tracks like ‘Kicking In’ do grow on you with its silly but catchy melodies that stick like toffee in your brain, rotting the enamel your brain uses to guard against such attacks. ‘Naked Love’ and ‘Pop That Lock’ are as bland as they come. Both songs are soulless Guetta cloned dance tracks. Dramatic and introspective Adam does come to the party via ‘Better Than I Know Myself’ ‘Underneath’ and ‘Outlaws of Love’. These are slow ballad type songs that fair slightly better than some of the upbeat tracks. The deluxe edition of ‘Trespassing’ has three extra songs but they do nothing to resuscitate the album.
Modern pop audiences should enjoy this album. Adam is simply giving them what he and his record label think audiences ‘expect’. However, if you thought a talent like Lambert would invoke the ghosts of Queen, Robert Plant or David Bowie to help him reach great heights forget it, you will be disappointed because Adam prefers ‘trespassing’ on the musical wastelands of popular culture.