Mirror, Mirror is one of those albums that simply oozes energy. From the opening moments of Adam Camm’s latest release, it’s clear that I’m in for a rollercoaster ride. I love the fuzzy, distorted electric guitar power chords of the aptly-named “Feel The Fuzz.” There’s an intriguing synth lead hook that feels dissonant and jarring in the best possible way. It perfectly fits the dark, unsettling vibe of the opener. And Cann’s distorted, almost-drowned-out singing is deep and brooding. Everything about this track is sinister, and I absolutely love that. It’s a powerful electro-rock intro. But the hauntingly funky album only keeps delivering bangers from there on out. “Feel It” has a slightly more upbeat high-fretted guitar twang to it, which feels much gentler and more spacious than the opening, wall-of-sound intro, but there’s a slight hint of darkness in the slightly dissonant, unnerving lead guitar hook which bursts into the mix between choruses and verses. All in all, I love that these first two tracks offer two very different sides to Cann while ultimately belonging to the same coin — the transition is smooth, and the aesthetic of the album is consistent throughout.
“Wonder In The Morning After” is a jazzy change of pace, but Cann’s vocals remain deep, washed-out, and enigmatic. He delivers a captivating vocal performance on this track. Some of his elongated notes are beautiful. Mostly, I love the organ-driven verses and the bursts of catchy electric guitar power chords. There are some harrowing moments on the track too, driven by somber strings and heartfelt vocals. I love the variety of this release — Cann can deliver such a range of sounds, both vocally and instrumentally. And yet, as I’ve said, he always keeps the album consistent. There’s an undercurrent of dark funkiness, even when jovial, upbeat instrumentals take the forefront. The title track, “Mirror, Mirror,” has to be one of my favorite moments on the album, however. Such glitzy, feel-good verses, sprinkled with dark, unsettling moments of wobbly vocals and descending synths. The upbeat synths in the choruses almost feel like something from a bygone pop-rock band of the ’60s. There’s such a wonderful vibe to this track.
The album closes strongly too. “Devil in the Detail,” the penultimate track, has some fantastically catchy, engaging lead electric guitar, along with a punchy beat and deep ’80s-pop vocals. Of course, the closing track, “Abandoned – Master,” is the big moment worth reviewing here. More fantastic guitar with a psychedelic ’60s feel to it, washed-out, deep vocals, and flanger-driven electric guitar chords. What a jubilant closer to a brilliant album.
