Adem: Takes on Indie Rock Classics

Introspective English Cult Hero releases excellent Covers Album

Jan 3, 2009

Known primarily for his role in experimental post-rockers Fridge with the influential Kieran Hebden, Adem Ilhan is a talented performer in his own right.

Adem's two previous albums Homesongs and Love & Other Planets were downhome, dreamy affairs, espousing the lo-fi, home-recorded approach. Both were sparse and emotive, with songs built around acoustic instrumentation and Adem's somnolent vocals. While neither registered on a major international scale, both remain critically-acclaimed treats.

For his third release, 'Takes' (www.dominorecordco.com) Adem has made two significant changes. Firstly, he's finally left the confines of his apartment and graduated to a 'proper' studio (The Exchange in London). Secondly, instead of a third batch of original tracks, he's set about recording versions of twelve songs which inspired his own creative development as he grew up during the 1990s.

In itself, the concept of the 'Covers Album' is one of the stickiest in rock' n' roll. There are occasional successes to balance out the clunkers (in recent years, Jesse Malin's 'On Your Sleeve' is another recommended example) but most sane music fans are still trying to forget ill-advised homages such as Duran Duran's Thank You album from 1995.

Fortunately, the gentle intimacy of Adem's previous work is happily maintained here. Admittedly, some of these songs are sourced from the back catalogues of obscure artists such as Bedhead (the electronica-tinged folk of Bedside Table) and Pinback (the drowsy-sounding Loro) but in each case, Adem stamps them with a fragile dignity all their own.

Adem Takes on Indie Rock Classics

Elsewhere, it's often the most apparently recognisable fare which gets treated to the most radical of makeovers. Adem's gorgeously mellifluous version of To Cure a Weakling Child will shake up anyone who feels Aphex Twin's back catalogue is all harsh and impenetrable, while his re-tooling of Bjork's Unravel homes in on the song's melodic strengths instead of the Icelandic singer's vocal gymnastics.

He keeps his finest in reserve for the home strait, too. A folky and wintry version of The Smashing Pumpkins' Starla is a million miles away from the stadium rock bombast usually associated with Billy Corgan and co.

The Breeders and Low Under the Covers

Arguably even better is Adem's re-modelling of The Breeders' Invisible Man, which replaces the hard-edged rock of the original with glockenspiels, accordion and pattering, hand-held percussion: thus creating an intimate symphony all its' own. It would have made a great final word on its' own, but Adem (www.adem.tv ) awards that accolade to his fragile version of Low's Laser Beam and it would be hard to imagine a more brittle (or beautiful) set piece to fade away to.

Takes, then, is a quiet, but determined little sonic victory. It's the sort of record which naturally hides its' light under a bushel and waits to be discovered instead of pushing itself to the front of the queue. Maybe that's not a very rock 'n' roll approach but it's great news for anyone prepared to search for something that little bit different.

The copyright of the article Adem: Takes on Indie Rock Classics in Indie Music is owned by Tim Peacock. Permission to republish Adem: Takes on Indie Rock Classics in print or online must be granted by the author in writing.