Category: Reviews
Milky Chance: ‘Sadnecessary’
Milky Chance is a project from humble roots, comprised of Philipp Dausch and Clemens Rehbein, two acquaintances that sought to make music throughout their high school career while living in Kassel, Germany. Over the course of two weeks in 2013, they cut their full-length album, Sadnecessary, in their home studio — a culmination of their previous experience performing in a local band before becoming YouTube sensations with their breakthrough single, “Stolen Dance.” As of October 7th, 2014, “Stolen Dance” has been certified gold, having been digitally sold and streamed over 500,000 times in America. Sadnecessary, put out independently in Europe last year via the band’s own Licthdicht Records, is already a holder of a spot in the Top 10 out of 9 countries. Now, the record is geared up for its North American release on October 14th, 2014 (U.S. release through Republic Records).
Milky Chance’s Sadnecessary is a debut of their hallmark style more than anything else; self-described as melancholy with a positive spin (because you can dance to it — and I have been), the downtrodden drawl of Clemens backed by Philipp’s vocal harmonies are a persistent reminder that the up-tempo strumming and dance beats are underlain by personal accounts of lost loves, moments missed, and longings for things that could have been. Whether or not it was intentional, “Stunner” is the name of the first track on the album, and most notably sets the mood for everything that flows out of your speakers from then on out.
The group has been named by Rolling Stone as one of their “10 Artists You Need to Know Now,” and after now knowing them, I can say that they are not far off. There is something channeled in tracks like “Running,” “Fairytale,” and “Down By The River” that smarts of somber reggae and folk popping and reverberating through the concrete halls of a derelict building. What you hear is clearly unassuming, preferring to bounce around the room you are sitting in — the better to let you discover how catchy and mellow the wake of an album like Sadnecessary can be without coming across as needlessly obtrusive.
What is incredible, at least to me, is that this record was brought to life sans producer or large, studio setup. Milky Chance had played two shows prior to laying down Sadnecessary in a way that was free from industry expectation. Fortunately, relatable things catch on, and so, songs like “Feathery” and “Loveland” hit hard enough to sink in. They are capable of eliciting memories we have all felt in the midst of a blue summer; after drawing to a close, that particular notion about the album demands some reflection. It is no mere chance that Sadnecessary’s accessibility stems from the phenomenon that a good portion of the fabric of influential songwriting is loomed from how despondent and wistful one can get before picking up a guitar, and Milky Chance’s approach to musicianship supports that completely. Bravo!
4/5
Poliça at Terminal West on Oct. 6
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In this environment of musical over-saturation, and after many years of heavy concert-going, it has become a (maybe) sad truth that it’s now quite difficult for me to be truly interested or impressed with a live performance. A band has to possess a truly distinguishing factor. An element of surprise, if you will, in the live show. Just something freaking different, please. Poliça fit that bill, and proved it Monday night at Terminal West.
On-stage, you see two drummers, a bassist, and vocalist. A curious line-up, one would think. Okay. I’m interested. The attentive viewer will find hidden off-stage near the sound booth, one Ryan Olsen, who, contrary to his lack of visibility, is arguably the most important member of the group. Founding the band in 2011 with vocalist Channy Leaneagh, Olsen is responsible for everything you’re hearing outside of the bass and drums (obviously), and also handles the majority of the distortion on Leaneagh’s vocals.
The dual-drummers and heavy bass make for a deep, full-body experience and, along with the overwhelming use of red lighting, the “brutal” feel that it seems the band are embracing translates perfectly to the live show. Leaneagh’s presence and delivery are naturally what draw your eye, but her vocals almost swirl around you like a specter, while the music itself crawls in and makes itself a cozy home inside your gut, creating an experience that is much more than visual.
Leaneagh explained in an interview with Vice that she’s actually a very introverted person, saying,”That show, that performance is the most extroverted performance I will do all day.”
Her stage presence wouldn’t exactly suggest an introverted personality, as she certainly doesn’t reserve any emotion, but you can tell it’s more of an internal episode than an act adopted purely for performance or entertainment. You can feel the pain in the songs without even distinguishing the lyrics, which happen to all be depressing as hell.
So there you have it. Thank you, Poliça. Your show was something different. Something that made an impact. Something with purpose, honesty, and distinction.
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Watch: Ed Sheeran: “Thinking Out Loud”
Ed Sheeran has been recruiting an army of fans since his first studio album was released in 2011. His mounting success in Britain followed him to the US, and he’s been growing his musical career ever since. If it wasn’t already apparent from Sheeran’s own music, he’s an incredibly talented songwriter, having written for the likes of One Direction and co-written with his best friend, Taylor Swift. With only two studio albums, the talented singer has already achieved monumental success and continues to be a game-changer in the industry.
The video for “Thinking Out Loud” fits the style of the song, which is a ballad. Frequent radio listeners may only know Sheeran for his funky, pop hits such as “Sing” and “Don’t.” Much like any ballad, “Thinking Out Loud” shows a lesser-known side of the artist.
The video reflects this also. In it, Sheeran debuts his dancing skills, a very rare sight to behold. This isn’t full-out breakdancing or anything bizarre – instead, he shows off graceful old-school ballroom dancing. Sheeran acts as the support for his partner’s lifts and twirls, as she is the true star of the video. Her dance moves are flawless and unwavering, as Sheeran mostly dances in place.
Equally as surprising is Sheeran’s wardrobe change. The singer ditches his usual t-shirt-and-jeans attire in exchange for a vest and dress pants. His unique personality still finds a way to shine through without him being the star. Even though he appears sans guitar, he finds a way to incorporate air guitar into the video, adding a touch of playfulness to the serious song. The music video is a beautiful portrayal of dancing that matches the true eloquence of the ballad.
Charli XCX: “London Queen”
In anticipation of the December 16 release of her sophomore album, Sucker, pop singer Charli XCX has released a new single.
The single, “London Queen,” is inspired by the Ramones, according to Charli. The pop punk song was produced by Justin Raisen, who has also worked with other talents such as Theophilus London and Sky Ferreira.
Her second studio album, Sucker, was set to release October 21, but has since been pushed back to December 16, much to fans’ disappointment. With the increasing popularity she’s gained with “Fancy” and “Boom Clap,” the album is one of the most anticipated of 2014. Her recent success was a result of the years of work she’s put forth since the start of her music career in 2008. Despite the long road to achieving popularity, Charli XCX’s music hasn’t suffered. Every song she’s released from her upcoming album is fierce, relentless and guaranteed to be stuck in your head for at least a few days.
Even though she didn’t write “London Queen,” the song sounds as if it was written exclusively for her. It kicks off with an energy-filled beat, instantly drawing attention. “London Queen” allows for her to debut a more raw sound than her previous singles, which shows her versatility even in a single album. Charli’s lyrics revolve around living in the United States, as opposed to the UK. While this description may give the indication that this is a more somber song, it’s the complete opposite. She approaches the song with ambition and excitement over her new lifestyle, singing “I never thought I’d be living in the USA/Doing things the American way/I never thought I’d be living in the USA/Living the dream like a London Queen.” This single is fun (just like her other singles) and makes listeners even more anxious for the upcoming album.
Also, while the songstress is bringing back punk rock, she is currently on the North American leg of her tour. The tour will continue until her final show in San Francisco, California on October 25. You can find tickets and upcoming shows of Charli XCX here.
3/5
Jessie J: “Personal”
With the upcoming release of her third studio album, Sweet Talker, on October 14, Jessie J has included a free download of “Personal” with the pre-order.
This will be the third single from the new album, but it’s the first one that isn’t a collaboration. “Bang Bang,” featuring Ariana Grande and Nicki Minaj, reached #1 on iTunes upon its release, while “Burnin’ Up” included 2 Chainz. The British artist isn’t only making strides in her home country, but also dominates the charts in the U.S. as well. Her debut album, Who You Are, sold over four million copies and was certified multi-platinum in over 15 countries. With the momentum she has gained over the past few years, her latest endeavor is sure to be a success.
With “Personal,” Jessie J opts for a more subdued sound, which, nevertheless, is just as powerful with her contagious voice. With less reliance on drum beats and instrumentation, her voice echoes over the monotonous rhythm. The listener is forced to admire the range of her unique vocals. She demands the listener to hear what she’s saying clearly. Jessie J sings, “when you fall in love/You can’t help it when you act like a fool/When you look above/You see the reasons why we do what we do.” Upon listening to the track, it is apparent the song is very meaningful and, well… personal.
3/5
Jessie J Tour Dates:
October 9 New York, NY – Gramercy Theatre
October 14 Los Angeles, CA – El Rey Theatre
Luke Winslow-King: ‘Everlasting Arms’
The last time Vinyl Mag talked to Luke Winslow-King was during South by Southwest back in March. At the time, Winslow-King was performing songs from his 2013 album, The Coming Tide, which features a more bluesy, alternative sound.
In the interview, he briefly mentioned his then-upcoming album, which dropped yesterday. Everlasting Arms embodies the typical New Orleans style with a rock and roll twist. Having attended the University of New Orleans for the classical music program, Winslow-King really highlights the blues and jazz sound of the Louisiana heritage. He refers to the genres as “really the only original American forms that were created in America.”
Everlasting Arms opens the album with female vocals to harmonize with Winslow-King’s smooth, southern voice. The sweet and simple song transitions into “Swing That Thing,” a track that really shows off Winslow-King’s southern rock and roll sound and reminds me of Eric Clapton’s From the Cradle.
“Levee Man” is the definition of New Orleans sound. The track opens with a trumpet and a banjo that, with the help of a piano and some brass, transports the listener to different time.
“Graveyard Blues” exhibits a slower sound with the female harmonization to put a modern twist on a classic blues piece. Going back to the genre-specific sound, “Cadillac Slim” follows with an upbeat sound and female back up singers that give the track a Louisiana-style doo-wop feel. The Louisianna sound continues with “La Bega’s Carousel,” which is reminiscent of New Orleans classic, “Iko Iko.”
Trumpets are unique instruments (not that I’ve ever had any personal experience with them), but one basically must vibrate his/her lips to create sound. If you’ve ever seen a trumpet solo live, you’ve seen how red the player’s face gets. I’m sure it takes serious lung power and a lot of Chapstick, and I commend anyone who can pull it off as well as this player does in “La Bega’s Carousel.”
“Wanton Way of Loving” features female dominant vocals and a more “country” sound with a violins and banjos; Winslow-King makes a subtle appearance. The album comes to an end with “Home Blues,” a somewhat slower track that’s maybe a tiny bit ominous, but true Blues nonetheless. Winslow-King sings, “Blues’ll make you do things you would never do. They’ll make you mean; they will make you cruel…”
Finally, “Travelling Myself” ends with a southern sound that makes me think of O Brother Where Art Thou.
The album takes listeners to a different place and a different time. Winslow-King’s music education and sheer skill are prevalent throughout the album and create an embodiment of Louisiana blues and jazz. If Everlasting Arms doesn’t make you want to pack up and head to New Orleans, I don’t know what will.
Lorde: “Yellow Flicker Beat”
Yesterday, Lorde released the first hint of new music since her debut album, Pure Heroine.
The latest single will be featured on The Hunger Games: Mockingjay—Part One soundtrack. With a heavy touring schedule, Lorde hasn’t had much time in the studio since the release of her first album, and with only one full-length album, fans are growing anxious for new music from this stellar artist. The single gives us a taste of something new that, hopefully, will tide us over until the release of her second album.
Given the context of the film, “Yellow Flicker Beat” perfectly encapsulates the film’s main character, Katniss Everdeen. If you’re not a Hunger Games fan, don’t hesitate, because it’s a beautiful song everyone can appreciate.
The song begins with the Lorde’s haunting voice singing, “I’m a princess cut from marble, smoother than a storm/And the scars that mark my body, they’re silver and gold.” The beginning emphasizes the strength of her voice without any musical accompaniment, but quickly changes to a song with a more electronic feel.
Lorde doesn’t stray too far from her roots with this single, and it works to her benefit. While she has used techno and electronic sounds in the past, the lyrics are even more deep and powerful, especially given the context of the movie. The most gripping line of the song is, “But I got my fingers laced together and I made a little prison/And I’m locking up everyone who ever laid a finger on me/I’m going in hard.” This single does not disappoint and may even intensify the eager anticipation for the singer’s next album.
4/5
New Politics: “Everywhere I Go (Kings and Queens)”
New Politics released a new single on Sept. 23 to give listeners a taste of what their third album could entail.
This is the Denmark band’s fifth single since they formed in 2009. With the success of their biggest hit “Harlem” last year, the band landed opening spots on desirable tours such as Fall Out Boy, Paramore, and Pink. Their current headlining tour is guaranteed to propel them into the realm of more recognizable alternative rock bands.
“Everywhere I Go (Kings and Queens)” is geared toward young adults, ideally college-age, who just want to hear a song they don’t have to think about. The commanding tone of the song is full of angst and demands attention. While it may seem like an immature theme, everyone needs a full-out reckless anthem to turn the mood around after a long day. The lead vocalist chants “All the giving, the taking, the taking, the giving/We’ve taken enough, it’s enough, it’s enough/So just sing.” With the thumping drum beat and persistent lyrics, the energy is relentless.
The song is easily relatable for those times when you’re just fed up with the ways of the world, which can be fairly often. The only issue with the single will be increasing the popularity via radio because of the countless f-bombs dropped throughout.
3.5/5
Cory Branan at Caledonia Lounge on Sept. 25
I arrive at Caledonia in the middle of Betsy Franck’s performance. The simple two-man show was enough to capture me. Alongside a killer electric violin, Franck’s vocals were deep and flowing. Furthermore, anyone with a Loretta Lynn autograph on his/her guitar has my vote.
Franck leaves the stage but lingers among the small crowd, the size of which can be attributed to the Reptar/New Madrid concert down the street at the Georgia Theatre. Sometimes these things happen. Nevertheless, I think all of the artists at Caledonia, although deprived of a proper Athens audience, left their emotions on the stage. On the bright side, the show becomes exceptionally personal and engaging.
Cory Branan makes his way to the stage with drink in hand. A quick sound check, and he’s ready to go. He has a very relaxed manner and a “unique” sense of humor. He starts by saying, “It’s not about the number” in regards to the intimate crowd.
The first song is one from his newest album, The No-Hit Wonder. With each hard strum of his guitar, Branan displays a little frustration and a little lightheartedness. After a few energetic songs, Branan gets the crowd loosened up and states, “Okay, I’m happy now,” confirming this with his performance of “You Make Me.”
One thing I know that the people at the packed-out Reptar/New Madrid concert aren’t getting – direct acknowledgment. Branan calls people out in the crowd by name and asks the audience for requests. “Survivor Blues!” someone yells, and Branan promptly accommodates.
Branan and Franck are both relatable, approachable. Although this is true for many artists, this show in particular seemed to make it easier. There’s no backstage at Caledonia. There’s only one stage, one front door, one back door, and one bar. During Branan’s concert, it feels like we could have just as easily been sitting around the bonfire, sharing a bottle and a laugh.
Although Athens may not have been Branan’s favorite crowd, I can honestly say he gained a few more fans after his show at Caledonia. I took my cousin and her roommate along with me, and I was curious about how they would react to the music. After listening to and reviewing The No-Hit Wonder, I decided that Branan was the country for me, and I hoped my companions would feel the same way. Success. This won’t be the last time I see Branan, and I suggest you do the same.
Yes I’m Leaving: ‘Slow Release’
The likes of Billy Burke, Anthony Boyer, and David Cook comprise Sydney’s own hardcore punk-imbued trifecta of kickass disarray that is Yes I’m Leaving, and after two LPs, this Australian band is looking to hit things back off with their album Slow Release, out via Homeless Records come September 29, 2014.
Yes I’m Leaving’s aptly entitled follow-up to their 2013 reissue record, Mission Bulb, is a cement mixer of grunge, grit, and nihilism set to a four count, and I just spent most of my day trudging around to it blaring from my earphones. To start, it was slow going (absolutely zero pun intended) listening and re-listening to this album through from beginning to end, and it wasn’t until I found myself in the midst of the wracking dissonance so characteristic of tunes like “Alchemy” and “Secret” that I finally succumbed to nodding my head to the band’s volatile rhythm section while taking to scowling at everyone who looked at me longer than a few seconds.
Listeners can expect to hit the ground running with “One” as it erupts in a surge of fat bass chops and a couple of old school, pseudo-crust, vocal wails (contradictory proclamations, really) belonging to front man Billy Burke; this introduction stands to give the impression that whatever is coming next is likely going to be a bumpy ride, and I would be lying in claiming that the following tracks, “Puncher” and “Fear,” are anything short of turbulent.
Another checkpoint and notable mention at number five in the lineup is “Timer,” a jam that stands out on the album at certain parts that—dare I say it—would fall somewhere in the same genus as a Nirvana if they were a bit more thrash and had originated somewhere in the Tropic of Capricorn.
Then there is the blast of static that is “Mania,” at number eight, which melds nicely with the album’s gradual, seemingly out of control spiral downward until it burns itself out three tracks later with “Husk”—and in this humble reviewer’s opinion, in the most forthcoming instance of YIL’s splash of controlled chaos on the record.
Slow Release comes off as delightfully anxious, but leans heavily on a tone that can, at the best of times, be described as incredibly consistent. Overriding what some might call a tight performance geared toward those clamoring to be awash in an aggressive squall of noise is the group’s propensity for making songs by sticking to a “play-the-measure/repeat-the measure” formula. While this can be chalked up to Yes I’m Leaving’s self-stylization as a droning force of off-kilter and provocative guitar riffs, looking at Slow Release from a technically critical standpoint leaves something to be desired.
3/5