I only wish that the solo could have explored more tonal realms, rather than playing over two repeated shifting chords – although this unfulfilled expectation might result from hoping to find some of the discordant grit that Rehbein injects in his signature vocals in the instrumental sections. ‘Firebird’ has, for example, an acoustic guitar solo, which through funky and changeable rhythms invigorates the momentum of the piece. That being said, most of the textures in Blossom are vibrant and diverse, perhaps even more so than in Sadnecessary. The group shot to success with the single 'Stolen Dance' in 2013 michael dornbierer But in the context of layered guitar work, chord progressions and occasional punctuation from a harmonica, the heavy production buries the possibility of redeeming simplicity. This is why I was disappointed by the cliché sound of ‘Cold Blue Rain,’ which revolves around the line: “I know that we’ll be forever forever together as one.” In the bonus acoustic version of the song, the rawness of pairing one voice with one guitar saves the emptiness of the lyric, transforming it into something intense and genuine. Seeing as the members of the German band are non-native English speakers, their linguistic background becomes here an asset for their lyrical writing: a lack of familiarity with the blasé tropes of anglicised expression allows them to create poetry both beautiful and candidly simple. Here, the predominant simile of “You’re like a firebird” plays into Milky Chance’s knack for unusual yet striking comparisons – much like “I am attracted to you like the sun” in the earlier ‘Sweet Sun’.
Like in ‘Blossom,’ the one-word song title – ego – is repeated throughout.Ĭontrasting with these punchy openers, ‘Firebird’ begins with a soft, ethereal prelude, only to then return to the sound popularised by their earlier hits like ‘Down By The River’. The vocals, on the other hand, are uniquely those of Milky Chance, with sensual hums punctuating the end of every verse. “All I feel,” croons Rehbein, “is that I need you to blossom out, blossom out, blossom out.” The next song, ‘Ego,’ features similarly repetitive lyrics, albeit with a slightly more upbeat feel reminiscent of Vampire Weekend, energised by polyphonous guitar lines and wood-block percussion. With an energising start to the first track, ‘Blossom,’ the refrain of the titular song then backs off again, exposing only faint background vocals and a single acoustic guitar melody. “Alternation between expected and unexpected, acoustic and electronic – even a juxtaposition of simple and heavy production – is what both characterises and distinguishes the group’s newest album from their earlier work” And while Blossom remains loyal to the winning formula of the hits on Sadnecessary, it features a refreshing balance between upbeat and mellow, simple and complex. This alternation between expected and unexpected, acoustic and electronic – even a juxtaposition of simple and heavy production – is what both characterises and distinguishes the group’s newest album from their earlier work. Within the first 30 seconds of the album we are abruptly taken from an unusual building riff to the band’s classic sound: thumping drums, vigorous guitar strumming, acoustic noodling and the gritty vocals of lead singer Clemens Rehbein. This is the titular opening of Milky Chance’s second album, Blossom. Out of nothing, a crescendo of synth seventh chords and off-beat percussion grows slowly, until the guitar and vocals suddenly all tap in at once, interrupting this seemingly unrelated prelude with a dynamic pulse of bass drums and strummed chords.