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It’s the aural equivalent of a strong cup of hard cider: warm, soothing, and slightly intoxicating. Gorgeous tones pop up throughout the plunking acoustic of “Flashed Junk Mind,” the earth-shaking bass of “Running,” the rattling background hum of the title track. Rhythm sections roll along with an analog warmth but a digital precision, guitars echo with the intimacy of an open-mic night and the sheen of a million-dollar recording studio. The record achieves a tone and rhythm uniquely its own, probably as the oddball result of playing an organic music style with an electronic infrastructure.
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Such description of the Sadnecessary‘s creamy middling may make it sound boring or at the very least unremarkable, but in truth, it’s one of the more inscrutable albums you’ll listen to this year. Dynamics are kept similarly in check, with few moments on the album raising to a scream or lowering to a whisper, instead keeping an even keel. The most energetic tracks - opener “Stunner” and second single “Down By the River” - never accelerate past a trot, and the draggiest tracks - the rhythm-section-less closer “Loveland,” and the love song “Fairytale” - never slow to more than a saunter. Chance opts for neither, instead finding themselves contented at a casual stroll. When you think of folk in 2014, you tend to think of it in polarized extremes: the rushing banjos, furious drums, and stadium-ready choruses of Mumford & Sons, or the balladic, cabin-in-the-woods minimalism of Bon Iver. The appeal of Milky Chance has a lot to do with moderation. Unlike many fluke successes of its ilk, “Dance” is no red herring - the great majority of Sadnecessary follows in its pattern of low-octane beats and gently lapping guitar strumming, making for a lovely and understated album that feels ideal to warm up to as the weather gets progressively more compromised outside your window. The group’s serenely rollicking crossover jam is currently enjoying a multi-week run on top of Billboard’s Rock Airplay chart, and is gradually climbing up the Hot 100 as well. Milky Chance’s unusal brand of mid-tempo acoustic rock has been purposefully imported over the Atlantic thanks to the surprise success of their debut single, “Stolen Dance,” one of the least-likely U.S.
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But here they are, and we should be grateful for that, because they’re bringing with them Sadnecessary, the best autumn soundtrack this side of Manitoba. is not a long one, and when you add the fact that Chance are not a pair of folkies in the conventional, co-piloting vocals sense of Simon & Garfunkel, but more in the He’s the DJ, I’m the Singer sense of Mackelmore & Ryan Lewis, it becomes even more improbable. The list of Central European coffee-house acts to break it big in the U.S. ideally getting so blazed that he forgets about losing the woman he loves.īut all of that noted, there also appears to be a sentiment of probable redemption underlying it all. In other words, whereas the singer’s lover may be snubbing him at the moment, it doesn’t sound like he has completely thrown the possibility of reconciliation out the window.īut until then, his mind is totally not at peace. And evidently, as revealed in the pre-chorus, all of this has something to do with him being ‘jealous’, which in the context of the narrative we would presume is in relation to the prospect of his lady now dating other dudes.The debut album from German folk-pop duo Milky Chance took over a year to make it from their home country to American shores, but really, it’s pretty tremendous it made it here at all. Or even more accurately, “Colorado” appears to be a breakup tune. The singer is coming to grips with the fact that the relationship between him and the addressee has dissolved. And he is in his feelings accordingly, as it seems that he is the one more or less getting dumped. Indeed with all of that in mind, apparently the reason he is compelled to “get high” is in an attempt to “push away the sorrow”, i.e. all-good. And said addressee would be his significant other. So yes folks, once you get past the titular reference what we’re actually dealing with her is more akin to a love song. But that said, “Colorado” is not to be confused with an actual weed song. In fact outside of that aforementioned line the vocalist seems to make only one other reference to herb, via yet another metaphor where he speaks inaccurately being under the impression that the relationship between him and the addressee was “evergreen”, i.e.