Blossom begins on a peak with it’s title track, echoing soft synth that builds into layered guitars bouncing off the walls of their insular world.
The record is surprisingly long - 14 tracks with 5 bonus acoustic tracks. The crux of Blossom is still the rhythms laid out by guitars and drums, but their repertoire has expanded to include piano, bass and essentially every other instrument under the sun. The rest of Blossom however, is more developed, complex and mature. The bare bones of the new record are the same as the first - strong spaced out drum beats, slow and simple guitars and an eclectic sound inspired by all corners of the musical map. On March 17th Clemens Rehbein and Philipp Dausch, the duo behind Milky Chance, will release their second album Blossom which is neither a massive sonic departure nor a sophomore slump. Instead they’ve been on nonstop victory tours hitting every town and music festival humanly possible. Their rise was quick and seemingly painless - after uploading and releasing their debut album Sadnecessary, the duo found overnight fame thanks in large part to the success of their first single “Stolen Dance.” In the four years between Sadnecessary and Blossom, Milky Chance have not released a single thing. Milky Chance are a rare band with a genuinely pleasant success story and a lack of ill sentiment towards the music industry. I was apprehensive about watching a band at the main stage whose name is Milky Chance (what does it mean?!) but obviously the point of this story is that they ended up impressing the shit out of me. I actually first heard them at a music festival when my sister dragged me to their set. Despite the way I waste my life away in this endless pit of cyberspace I somehow missed Milky Chance’s meteoric and swift rise to Internet stardom.
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