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Adam Naas

Adam Naas Adam Naas
Ever since his first EP, Adam Naas has imposed the devastating beauty of his soul man voice. Only 26 years old and the young French man has confirmed on stage how powerful his voice is, capable to embrace everyone’s senses, even the toughest ones. But this is actually when in studio that he paved his way for his intimate soul pop, formidably sensual, romantic and luminous. The outcome: The Love Abum is a pure shot of love. « Let’s hope that spermatozoon and ovum do meet when listening to it », he says, very amused. The Love Album reaches this seventh heaven quite easily, thanks to languishing ballads and soft vocal lines.But this first opus is not only designed to make love, even if it achieves this quite perfectly, who could resist to those erotic rhythms of « I Want To Get You Close To Me » or to the sensual provocations of « The Love? ». Love is unveiled in various forms: call for self-acceptance (the up-tempo of the track « Cherry Lipstick »), jubilation when eventually meeting one’s soul mate (« When You’re Holding Me »), love and hate making you wish someone’s close death (“Eternity”). “Love and hate are two feelings that complete and arouse each other... It can be destructive, emotionally as well as physically”, comments the young French man who doesn’t fear to directly attack the tragedy of domestic violence on “He’s Gonna Kill Me”. The musician accepts his hypersensitivity, and actually draws his strength from it to compose music and lyrics that sublimate personal stories into universal feelings. His flaws have become weapons as Adam Naas refuses to engage himself into plain or featureless productions. “I wanted my voice to be distinctly heard, with no touch-ups at all”, he explains. In two years, his voice range had dramatically evolved and became more complex (as one can hear on the fascinating falsetto of “The Love”) and he has acquired great knowledge and power. His voice has become the greatest instrument offering an extreme range of endless possibilities. This is mostly thanks to his encounter with the British Dan Black. “Dan drove me into a corner and I didn’t fear to build on experimentations, to assert my choices, vocally and musically”. The former leader of The Servant, now settled in Paris, will end up producing the whole album. “I don’t have one but thousands of personalities”, goes on Adam. “And this album was meant to be the exact reflection of this so I never hesitated to have each song developing its own personal style”. Romantic nostalgia and dark romanticism nurture this musical ocean where legendary soul roots (Etta James and Al Green) meet electro and more contemporary indie rock. It seems that millions of different artists feed Adam Naas’ references melting-pot: Nina Simone, to whom his mother was listening to, Lauryn Hill thanks to whom he encounters his fist musical crushes with Sister Act II, Destiny’s Child and indeed, James Blake’s electro and the XX. But the real blow occurs the day he listens to Sam Cooke’s civil rights protest song “A Change is Gonna Come”, released in 64. “I told myself that if I had to make music, it had to be done with the same intensity and same honesty”. Adam Naas honoured this promise he had made to himself.
Ever since his first EP, Adam Naas has imposed the devastating beauty of his soul man voice. Only 26 years old and the young French man has confirmed on stage how powerful his voice is, capable to embrace everyone’s senses, even the toughest ones. But this is actually when in studio that he paved his way for his intimate soul pop, formidably sensual, romantic and luminous. The outcome: The Love Abum is a pure shot of love. « Let’s hope that spermatozoon and ovum do meet when listening to it », he says, very amused. The Love Album reaches this seventh heaven quite easily, thanks to languishing ballads and soft vocal lines.But this first opus is not only designed to make love, even if it achieves this quite perfectly, who could resist to those erotic rhythms of « I Want To Get You Close To Me » or to the sensual provocations of « The Love? ». Love is unveiled in various forms: call for self-acceptance (the up-tempo of the track « Cherry Lipstick »), jubilation when eventually meeting one’s soul mate (« When You’re Holding Me »), love and hate making you wish someone’s close death (“Eternity”). “Love and hate are two feelings that complete and arouse each other... It can be destructive, emotionally as well as physically”, comments the young French man who doesn’t fear to directly attack the tragedy of domestic violence on “He’s Gonna Kill Me”. The musician accepts his hypersensitivity, and actually draws his strength from it to compose music and lyrics that sublimate personal stories into universal feelings. His flaws have become weapons as Adam Naas refuses to engage himself into plain or featureless productions. “I wanted my voice to be distinctly heard, with no touch-ups at all”, he explains. In two years, his voice range had dramatically evolved and became more complex (as one can hear on the fascinating falsetto of “The Love”) and he has acquired great knowledge and power. His voice has become the greatest instrument offering an extreme range of endless possibilities. This is mostly thanks to his encounter with the British Dan Black. “Dan drove me into a corner and I didn’t fear to build on experimentations, to assert my choices, vocally and musically”. The former leader of The Servant, now settled in Paris, will end up producing the whole album. “I don’t have one but thousands of personalities”, goes on Adam. “And this album was meant to be the exact reflection of this so I never hesitated to have each song developing its own personal style”. Romantic nostalgia and dark romanticism nurture this musical ocean where legendary soul roots (Etta James and Al Green) meet electro and more contemporary indie rock. It seems that millions of different artists feed Adam Naas’ references melting-pot: Nina Simone, to whom his mother was listening to, Lauryn Hill thanks to whom he encounters his fist musical crushes with Sister Act II, Destiny’s Child and indeed, James Blake’s electro and the XX. But the real blow occurs the day he listens to Sam Cooke’s civil rights protest song “A Change is Gonna Come”, released in 64. “I told myself that if I had to make music, it had to be done with the same intensity and same honesty”. Adam Naas honoured this promise he had made to himself.