Photograph by Theo Wenner

Adele: Inside Her Private Life and Triumphant Return原文请戳：
http://www.rollingstone.com/music/news/adele-inside-her-private-life-and-triumphant-return-20151103
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One new track, "Water Under the Bridge," is about him(Simon). It's a notably clear-eyed love song, with a feel vaguely reminiscent of Michael Jackson's "Human Nature": "If I'm not the one for you," she sings, "why have we been through what we have been through?" — and the chorus pleads, "If you're gonna let me down/Let me down gently." "It was sort of about a relationship suddenly getting really, really serious," she says, "and then getting a bit frightened by it, and then realizing that 'I think this must be right. This is the relationship that I want to be in for as long as I can possibly be in it.'" She hasn't played the whole album for Konecki yet: "What if he doesn't like it?"

Adele gazes up at her old apartment, her expression hard to read for once. Her yearning for her old self, her nostalgia, pervades multiple songs on her new album. Her favorite track is the Elton John-ish ballad "When We Were Young," co-written with singer-songwriter Tobias Jesso Jr., which shares a tiny bit of DNA with "The Way We Were," a song that brought her to tears when she saw Barbra Streisand perform it in person at the Oscars. At the last minute, Adele changed the name of another standout track from "We Ain't Kids No More" to "Send My Love (To Your Lover)." "Otherwise, you might as well just call the fucking album Old," she says.

The direct sonic influence is hard to find, but one of the chief inspirations for 25 was Madonna's Ray of Light. "You know what I found so amazing about that record?" Adele says. "That's the record Madonna wrote after having her first child, and for me, it's her best. I was so all over the place after having a child, just because my chemicals were just hitting the fucking roof and shit like that." She felt detached from her artistic self. "I was just drifting away, and I couldn't find that many examples for myself where I was like, 'Fuck, they truly came back to themselves,' until someone was like, 'Well, obviously, Ray of Light.'" Adele listened to it over and over, and was particularly captivated by "Frozen." "I took that song as 'I've gotten my confidence to come and do me again.'"

About a year and a half ago, Adele thought she might have nearly enough songs for an album. Her manager wasn't so sure, and they brought the demos to Rick Rubin, who had given valuable input on 21 — even though Adele ended up jettisoning some of his productions in favor of her rougher takes. Rubin listened, stroking his beard, probably. He looked at Adele and told her, "I don't believe you." The original group of songs was lighter in tone than anything she's done. "You know the pop songs that are fantastic, but they don't have much depth?" says Adele. "They were all a bit like that."
"Adele was anxious to be finished with the new album and move forward with life," says Rubin. "I stressed the most important thing was to be true to her voice, even if that took longer and was more work... In the new material I heard, it was clear she wasn't the primary writer — many of the songs sounded like they might be on a different pop artist's album. It's not just her voice singing any song that makes it special."
"I actually took it really well," Adele recalls. "When he said it, I couldn't work out if I was, like, devastated, going to cry my eyes out. And then I just said, 'I don't really believe myself right now, so I'm not surprised you fucking said that.'" Rubin and Dickins both told her it sounded like she was rushing. "And that's not a way to make any kind of record," she says. "Especially when I'm trying to fucking follow 21. So I went back to the drawing board, really."

Earlier this year, she spent two months in Los Angeles, determined to move forward on her album for real. Among other sessions, she ended up working with the ubiquitous pop auteur Max Martin (along with collaborator Shellback) on the slinky "Send My Love (To Your Lover)," which may well be her catchiest, most modern song ever, built around an almost African-sounding guitar lick Adele wrote several years ago. She sought Martin out because she liked Taylor Swift's "I Knew You Were Trouble" ("I thought it was a really different side to her"). But soon she looked up Martin on YouTube, where she discovered the full breadth of his influence, the hits he'd written or co-written for everyone from N'Sync and Britney Spears to Katy Perry. "Send My Love" is the only kiss-off song on this album, addressed to the guy Adele dated between her 21 paramour and Konecki. "It's one of those, like, 'I'm fucking fine so fuck you' songs," she says.

来张图片休息一下囧rz

A key early song was "Remedy," a big ballad with rolling piano chords written with Ryan Tedder, who also co-wrote "Rumour Has It" and "Turning Tables," from 21. It feels like Adele's own version of Bob Dylan's "Make You Feel My Love," which she covered on her first album. "When the pain cuts too deep and the night keeps you from sleep," she sings, with exquisite tenderness, "I will be your remedy." It made her tear up as she wrote it, and it has a similar effect on listeners. "I wrote it about my child," she says. "But I sang it for everyone that I really love. When I wrote it, I got my confidence back in my writing 'cause I believed in myself."
On 21, she came into sessions with Moleskine notebooks full of lyric ideas. This time, she often started from scratch, summoning songs from the air. Her collaborators would play chords while Adele improvised melodies and lyrics, sometimes in a single burst. "It's impossible to question why she's where she is once you sit down with her to write a song," says Jesso. "She was the first introduction I had to somebody who could sing words on the spot that were actually really great." Jesso's manager told him that he could hear Adele's voice from the street outside the house where they were recording, that it was practically shaking its foundations.

She and Bruno Mars made an attempt at an uptempo song but instead created the unapologetically dramatic ballad "All I Ask," complete with a climactic key change and Adele engaging in what she calls some of her most "showoff-y" vocals. "I've never sung like that before," she says. "Never sang that high. The funny thing is that Bruno was hitting those notes in the studio too." ("She's a superstar and sassy as fuck," says Mars, who recalls a brief disagreement over one lyric. "Once she recorded it, it became one of my favorite parts of the song. She told me she hopes I'm in the audience when she sings that line live so she can flick me off.")
In only one case did a collaboration go wildly wrong. She took a stab at recording with Blur frontman Damon Albarn — and he ended up telling the press that Adele was "insecure" and that her music was "middle of the road." "It ended up being one of those 'don't meet your idol' moments," she says. "And the saddest thing was that I was such a big Blur fan growing up. But it was sad, and I regret hanging out with him." They didn't finish a single song. "No! None of it was right. None of it suited my record. He said I was insecure, when I'm the least-insecure person I know. I was asking his opinion about my fears, about coming back with a child involved — because he has a child — and then he calls me insecure?"

Adele wanted to modernize her sound, to add some synths and drum pads, to move away from the young-fogey vibe of 21 — on "River Lea," her track with Danger Mouse, she sings over choirlike keyboard chords created from her own sampled voice. "This time, it was about trying to come up with the weirdest sounds that I could get away with," says Epworth, who co-wrote two tracks on 25. "This album feels like it fits in maybe more with the cultural dialogue instead of being anachronistic to it. It's almost like she's trying to beat everyone else at their own game."
She enjoyed working with Sia for her new album, even though the songs didn't make it (one, "Alive," became a single for Sia instead). Adele realized she had never collaborated with a woman before. "I actually love the dynamic of us both being in there and just fucking being bossy," she says with a laugh. "And it's all these male producers, and they're all fucking shitting themselves 'cause we're in there."

结束，其他生活、现状、巡演等请戳原文+++++++++++++++++++++++++++++++++

瘦了这么多……美哭了

一定是最近努力过头了，气色不好啊