Never Close Our Eyes - Stream with Lyrics

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Well it's truly been an embarrassment of riches recently with all the performances, hence the lack of posts so I hope my companion blog of bare performances has helped you keep up. I'm in the process of watching and summarising everything and will hopefully post on those soon. For now though, it's time to listen to the new single Never Close Our Eyes:



I must be one of the only fans who hadn't yet listened to the live Bing Lounge version, deciding to give my ears the full studio treatment of NCOE first. It's taken a hell of a lot of restraint but I'm glad to have made it. I think it'll give me a much better appreciation of the acoustic performances.

From the minimal sound of the keyboard and the echo effects it's apparent right from the beginning that this song is going to have an electronic dance production, late 90s springing to mind. Any concerns about Adam's voice getting neutered are alleviated at the first 'that' - rich, a little rough, with a hint of vibrato and unmistakably, powerfully, Adam. And there's plenty more of that on this track so I'm a happy chappy.

The instrumentals have a phased introduction coming in layer by layer. Unusually this song starts with the chorus, the verses finally kicking in with a very satisfying, driving, syncopated beat. I find that I'm loving this part, with the rub-a-dub bass, the cheeky beeps and Adam's voice on top.

It moves onto a hands-in-the-air section on the return of the echoey synths where beat builds for the release of the full-blown pumping chorus. It has a four-on-the-floor house sound with the bass zipping up and down. It's my least favourite part of the song, having wanted to hear those earlier rhythms built upon but I can see it being meant for the clubs and people going mad for it. The bridge is a series of 'ooh's and 'ah's building up to a climactic vocal lead into the final chorus which ends abruptly. It's a very fitting end, suddenly closing your eyes at the death of the song.

If BTIKM is this era's WWFM then I'd say NCOE is its more sophisticated, accomplished IIHY. Released before the start of summer (unlike IIHY), I can see this Bruno Mars collaboration taking off as a huge summer hit. It's almost made for Ibiza - party-goers with cocktail in hand, evening breeze carrying over the excitement of the night as the sun sets over the sea, promising insanely fun times ahead. Maybe you could interpret in the lyrics a reference to recreational substances too, for round-the-clock goggle-eyed hardcore clubbers feeling the sense of togetherness that they bring on.

I've mentioned before that I'm not a huge fan of lyrics written from the first person addressing someone directly but I have to admit, I really like how this one's written. On a subject that's been well-worn, it still manages to avoid cliché and I find the oblique lyrics very elegant. Even the title sums it up so well, capturing the desperation not to miss anything. Whether that may be fun times larging it up with mates determined to enjoy life to the max, or whether it's the sad agonising final moments with a loved one, it's all up to the listener to decide and interpret which experience it is that they can't bear to end.

NCOE is an upbeat positive song with heaps of energy and delicious rock vocals. Having now listened to one of the acoustic versions, I think this studio version with all the excitement of the multiple build-ups works much better, despite missing that live quality in Adam's voice. Though still different to what I was expecting and not the darkly humoured funk (which I think will be Shady) I'd been hoping for, I'm liking it a lot. It's very catchy, sure to never leave our ears once we've heard it.

Here are the lyrics as far as I can make out:

I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Never

I don't want to let a minute get away
'Cause we got no time to lose
None of us are promised to see tomorrow
And what we do is ours to choose

Forget about the sunrise
Fight the sleep in your eyes
I don't want to miss a second with you
Let's stay this way forever
It's only getting better
If we want it to

You know that I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Never

It's so hard to think this could fade away
But what goes up must come down
Why can't we just live life with no consequence
And always live in the now

Forget about the sunrise
Fight the sleep in your eyes
I don't want to miss a second with you
Let's stay this way forever
It's only getting better
If we want it to

You know that I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Never (never never)

Ooh
Yeah
Ooh
Yeah

You know that I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Oh
Never

Radio Promo Rounds

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As there are so many videos from this round of promo, instead of doing a post for each, I've put them all together in the embedded playlist below along with some brief comments. There are 15 performances in 14 videos in at 8 different stations. There should be more but we don't have anything yet for Sirius XM.



95.5 WPLJ New York
WWFM features Kevin strumming on guitar, and as before, I still feel that there's something slightly unpleasant about the sound. Maybe it's one string that's affecting the balance of the chords, I don't have enough expertise to put my finger on it. The performance has quite a lively energy and it's rather endearing to see Adam twisting around on his swivel chair. I'm pleased to hear Adam still changing it up with a lovely run on 'now' and notable variations at the end.
This BTIKM has only a guitar accompaniment so I'm thrilled they decided to dispense with the drum machine. It's very quiet, all the better for hearing Adam's gentle voice, which has quite a bit of an echo. We realise it's only quiet because the mic's too far away and someone comes to move it closer. The expression on Adam's face when it happens is priceless but he's unaffected by it, showing no signs of being distracted with the beautiful vocals and harmonies.

Fresh 102.7 FM New York
Again, there's something with the guitar that sounds imperfect to me in this WWFM. There are more variations to this one and I really like the low 'Just keep coming around' and how Adam plays with the timing at the end. He takes the unusual step of singing a final 'me' which doesn't sound like 'may'.
He sounds wonderful on this slightly mournful BTIKM, even though there is a shaky moment at 'All along' from which he quickly recovers. There's less grain in his voice than some of the other versions but there are so many pretty embellishments, especially on the 'whoa's near the end.

B104 Allentown
This WWFM sounds quite different with lovely improvisations in both the melody of riffs and the timing.
BTIKM has a wonderful ending which alternates rapidly between power and tenderness, a bit like the contrasting sides of himself in the video.

94.5 PST Princeton
This BTIKM is a bouncy one that sounds rushed compared to some of the others. I realise that I always look forward to listening to ending of his performances, not only for the crescendoes but I think he's at his best and vocally most creative when he's outside of the confines of song structure. This is one ending that I love, where his sweet falsetto floats like the chirping of a songbird at dawn.
This WWFM features lots of the rougher texture of Adam's voice.

Q102 (Mix 106.1) Philly
This WWFM, although acoustic, has a harder edge than the others.
It's during this performance of BTIKM that I really get to appreciate the the less-is-more beauty of the bridge which goes from a hectic plucking of the guitar evoking the chaotic feeling of being rushed, to the soothing tranquility of ''Cause I need you now'. It's like the climax of the song, counter-intuitively, is a diminuendo. A powerful, belting performance.

B98.5 Jersey Shore
Unusual for any performance, this mini-set has no speakers set up for the audience. It's my dream to be able to hear Adam's actual, unprocessed singing voice that hasn't gone through any audio equipment. Lucky them. This is the first performance where Adam skips all the yodelly parts, and I actually prefer it as it sounds more elegant. Without backing vocals, Adam balances his delicate falsetto with some belting freestyling at the end.
WWFM is powerful and more aggressive than the other versions.

94.3 The Point
BTIKM is rather fast and bouncy, again without backing vocals and yodelly parts. Adam is spectacular in voice in both falsetto and belt.
There is little to report about this WWFM other than the voice being near perfect.

92.7 WOBM
Adam seems to have only sung WWFM at this station. There's not a lot that's particularly different about this version but this is as perfect as it gets.

HR3 Radio Germany - Better Than I Know Myself

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As you can tell, I'm a bit behind on all the reviews after the overload of radio promo performances (imagine what it would've been like for him!) so I'm going to just post brief comments with the videos.

Adam performed this BTIKM at Germany's HR3 radio station on his birthday, dressed as Light!Adam in what looks to be a turtleneck for those with necks the width of a torso. It looks so comfortable, ideal slouchwear but there's no slouching here.



An acoustic performance with Kevin, Isaac and Tommy, the piano is flowy and Adam's voice has a beautiful balance of both tenderness and grit.

Z100 New York

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During his promo rounds in New York, Adam performed an acoustic WWFM and a plugged-in BTIKM at radio station Z100, with Kevin doing the instrumentals.



There's something a little dissonant with the guitar near the start of WWFM which makes me think it's not perfectly in tune, and a very rare flat note from Adam. This rocking rendition sounds quite different from any other WWFM so far, with his voice being harder and raspier than usual. For the first time in a while, he remembers all the lyrics and there's a lovely low change on 'You could save my life'.

Maybe it wasn't the guitar after all but a very dodgy sound mix as when we get to the BTIKM introduction, the synthetic drums sound like they come from a cheap toy that even five-year-olds would turn their noses up at. The beat is key to the song and without drums and bass, the amateur effect is quite comical, distracting from the intended mood. I hope that as funk features heavily on the album, this drum machine won't be used again. Better to go acoustic than sound like this plugged in. Perhaps it sounded much fuller live and it's just the recording. Anyway, when Adam's voice comes in, the little ants hammering on the hamster-sized drum kit take a back seat. Beautiful and sweet with that little bit of scrapeyness I love. The crescendo is another spine-tingling moment where he palms the air, tongue out, and his endearing glory-note lever of a leg rises up. The ending is simply divine.

Mix Megapol Showcase Stockholm

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Peering out from the pile of media from Adam's European promo, we have an official recording from his acoustic showcase in Sweden though we're still agonisingly short of a full set. I'm hoping that once the album's out, the other songs will be posted. We have the same set as the other acoustic showcases of Fever, BTIKM, OOL, WWFM and Trespassing:



As I'm used to Fever being one for getting up and shaking it, the instrumentals seem a bit tame here. But it does mean we get to hear Adam's voice more clearly in its deliciously rich form. The climax is a highlight for the riff, even though it sounds a bit gargly-growly in the throat. It's a fantastic version and Kevin does a great job on keys with his jazzy free style.

As in the other recent acoustic sets, BTIKM is sung in an even lower key than the TV performances which in turn are lower than the single. I don't think the lowest notes here sound very assured but the voice is laid bare as the instrumentals are so quiet. Adam's rich velvety voice is a beauty though, and I'm thrilled that he continues to improvise and experiment with the melody on each performance. The crescendo is a very satisfying one and the ending a very tender one.

This OOL has such a quiet sombre start, so minimal and it would be wrist-slittily sad were it not for the building up into something powerful and defiant through the introduction of drums and other instruments. There's a beautiful a cappella section followed suddenly by a magnificent crescendo that's gasp- and goosebump-inducing. I love the way he sobs one of the last "Outlaws of lo-o-ove"s. Exquisite.

I really love the raspier tone of Adam's voice on this version of WWFM which features a couple of instances of lyric fail. It's the charming way he deals with it that's so endearing, also finding amusement in the fact that even after a few hundred performances he can still forget the words. Which he has done on each of the acoustic showcases on this promo tour! I guess it goes to show how much Adam has been focusing on this new era of songs. The ending is yet another unique one I haven't heard before.

Tommy's little funk riffs are a fabulous addition to this extremely cool performance of Trespassing. The claps don't feature quite as prominently as in some of the other performances, probably because everyone's hands are busy. Needless to say, Adam sings this flawlessly and fiercely. Like Fever though, I would've liked the instruments to have been a little louder as it's one for dancing to. It doesn't stop Adam though, who ends up on his feet. And so do I.

BTIKM Music Video

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Today, Adam's music video for Better Than I Know Myself was finally unveiled. We'd had a preview and a yellow-eyed still beforehand so we had an idea of what was in store for us, that the twist in the video was going to be Adam reconciling opposing sides of himself rather than singing to a partner.



The flickering gives it a home video feel where we're peering in on his private life through a letterbox aperture. The light and dark duality theme of the album pervades the video with two neighbouring rooms separated by a mirror/window. On either side we have evil hell-raising vampire Adam and cherubic cuddly domesticated Adam. We see the characters act out their separate parts, in a dark versus light, negative versus positive, masked versus bare, hard versus soft, stormy versus calm, action versus contemplation, destructive versus constructive, cold versus warm battle.

As Evil Adam increasingly acts up in a temper tantrum and starts to disturb Good Adam from his Zen, Good Adam tries to help but is frustrated that his efforts are thrown back at him, finally leaving it up to Evil Adam who then sets fire to the place in a self-destructive rage, depriving him of his life-force. It's only he who can save himself from himself, which he eventually does.

In the end, it says to me the power to be who we want to be is in our own hands, that people aren't black and white but have elements of both as depicted by Adam's in-between look with different coloured eyes (nod to Bowie? Also note the Trespassing visual reference as he passes the striped warning tape on the wire fence). This could personally apply to Adam the performer and Adam the person as well. It's something we've seen so often, going from the snarling predatory disdainful sex-magnet to the sweet wholesome cutie in a matter of seconds at the end of a performance.

This has many shades of the WWFM video in it, the acting more accomplished. It's interesting and engaging to see the different Adams with their expressions which are both fun to watch and easy to identify with. I have to say I'm much more drawn to the dark side, finding a vodka-guzzling mischief-making lairy night out on the lash with him much more appealing than having the homebody nurse me in my hangover state with his juicing. How many times have you re-watched him rip apart the pomegranate he hands himself, run his fingers through the lighter flame or throw his drink? It's a fascinating, fabulous and entertaining story for a video that I will watch again and again.