Seal
Seal II

The typical indolence of a maestro who creates masterpieces seemingly without thinking.

Even though he often denies himself, Seal loves to gaze at his reflection. Not out of vanity. Simply to feel safe, to avoid compromising himself.

He has a unique, incredible voice, but for the writer, it has never been a defining factor: he owns it, and probably perceives it the same way. After all, it's no big deal for him: it just flows out, free, spontaneous.

The album, titled 'Seal' in open homonymy with his debut album just to mislead the less attentive users (industry insiders will label it with a "II", just like that, d'amblè), surpasses its predecessor in sound clarity and attention to detail, yet it does not have the same complexity. It certainly follows its intentions: pop infused with soul and electronics, flirting with a subtle acoustic touch, always just hinted at.

Before "Kiss From A Rose" hit it big, Seal was a niche. As often happens, the track was not a first choice. "Prayer For The Dying", an ageless, catchy, and potentially radio-friendly song (albeit with a certain impatience in its execution, noticeable to the more attentive listener), had the honor of opening the dance. Compared to "Crazy", "Killer", and the like, Seal appears less relaxed but more focused and confident.

The album unfolds with concealed frenzy: "Bring It On" is an excellent overture, the writer has always adored it. It surprises, because such an upbeat rhythm is hardly ever revisited in the course of the album.

Seal is serious, not playing around. He doesn't allow for breaks. He becomes brooding, yet always scatters optimism in "Dreaming In Metaphors", a reflection that might displease as it follows the syrupy but, despite everything, well-defined "Don't Cry" (I'll confess: on 'I hear your voice on the phone', I get chills).

"Fast Changes" is a nursery rhyme, a game. "Kiss From A Rose", however, is liked because Seal makes himself endearing. The melody is certainly pleasant, but what makes the track unique is the delicacy with which the artist literally takes the listener by the hand, sits them down, kneels in front of them, and sings solely for them. However, for instance, my strings resonate triple on the magnificence of "Newborn Friend", where music and lyrics blend perfectly ('If I chant for happiness, maybe that will make me feel better. I can't change my ideals, I can't put out the fire. Ohh, if I chant for happiness, maybe that will bring us together'. Brrrr.).

Exquisite, varied, and superbly selected closure: the resignation of "If I Could", a duet with Joni Mitchell, the reproach of "I'm Alive" (patience is required, but the track deserves a thorough listen; it's only partially catchy, yet shines with its own light) and, permit me, like a dessert, the best comes at the end. The reprise of "Bring It On" is sublime, and you can't wait for the CD to recombine and start again, fittingly enough, coincidentally, from "Bring It On".

Seal sings about love, always has, but in life has received little of it, this is what comes to mind. In fact, I believe the guy is borderline depressed. He smells its stench, without ever falling into it.

For this reason, he appears tired most of the time. For this reason, apart from covers, he takes years to produce new material.

For this reason, even when he turns mushy, he can't shake off that shadow of darkness that renders the tracks on this album immortal.

And that's why, track after track, Seal, like a child, lets himself be taken by the hand by Trevor. Because he couldn't do it alone, and he would end up detesting himself.