Adam Christian Bass understands how to write a glossy pop song. The great thing about his talent, debuting on his ten cut collection Between Worlds, is that the gloss is never empty-headed. Bass’ songs have the proverbial something to say. The debut’s ten songs span an impressive gamut of subjects without retreading over familiar territory. Demonstrating such a vast songwriting imagination so soon out of the gate as an author, it wasn’t long ago when Bass turned his efforts toward music in earnest, marking his talents as truly special. We’re living in an era when too few have the sparkle of something unusual. However, Bass’ songs do, and you hear it even after listening to them once.
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The first song, “Lift Off”, does just that. A bright wash of keyboards followed by accompanying guitar propels us into Between Worlds – crafting an opener that works so well as a standalone cut while also fitting in well with a larger framework testifies to the extent of Bass’ talents. He has an unusual pop voice, prone to stentorian dramatics, but never to a laughable degree. His emotional investment here and elsewhere is clear.
The second cut, “Snowman”, shows that Bass is comfortable with varying subject matter. The shift from the opener’s concerns to this track’s subject matter couldn’t be starker. Bass changes musical gears as well. Between Worlds’ second number incorporates more guitar than “Lift Off”, but it is equally notable that Bass retains commercial pop sensibilities that mix well with the rock posturing. Languid textures define the third song, “Last One”. It has a near-orchestral tilt yet never strikes listeners in a pretentious fashion. Bass floods the vocals with deep, brooding emotion that further elevates the lyrics.
“Hurricane” is a big-screen single certain to garner attention. It’s easy to hear why Bass picked this track to highlight. There are audience members who may find his singing a little overwrought here, but other listeners will understand that it is what the song demands. It never descends into bloated histrionics. “Haunted Whisper” is a deeply felt ballad of the first rank. The opening piano, keyboards added for color, and overall stripped-down yet elegant framework for the arrangement focuses the spotlight on Bass’ singing. It’s a good thing. He delivers one of the album’s best vocal performances.
Bass revisits rock influences with the song “Magnetic Touch”. The pop sound present in the earlier “Snowman” is less here, but the songwriting stays well within Between Worlds’ wheelhouse. It’s yet another example of his wide range as a writer. “Wrinkles of Love” is one of the album’s most ambitious moments. It doesn’t come off that way, it has the same personability defining many of the earlier cuts, but his lyrical reach reaches another level with the album’s finale. Adam Christian Bass’ Between Worlds is one of the most complete pop-oriented releases of 2024 and shows incredible instincts for a debut release. We can expect great things from Bass in the future, but Between Worlds will appease us for now.
Garth Thomas