Clemens Rehbein and Philipp Dausch first met in the 11th grade, when they started performing together in a jazz quartet known as the Flown Tones. Although the band later disbanded, Rehbein and Dausch stuck together, and the pair went on to experiment with folk, reggae and electronica sound combinations. Eventually, this led to the formation of Milky Chance and the 2014 release of their debut album, Sadnessecary, which later went on to become a multi-platinum success.
Now, three and a half years later, Milky Chance is ready to embark on a new adventure with the release of Blossom. The album’s first single, “Cocoon”, continues to climb the charts as the Blossom Tour makes its way across North America.
Lead vocalist Rehbein spoke to Georgie about touring, writing and how being close friends with Dausch has benefited the band.
G—It’s been about 3 ½ years since the release of Sadnecessary. How has your approach changed between your first and second albums?
Clemens Rehbein—I wouldn’t say it’s changed in the way I write songs, but rather how we’ve developed as musicians. The songs are made of the same foundation, but they’re influenced by our experiences on the road and playing on stage.
G—Was it those experiences that inspired you when writing Blossom?
CR—All the songs are about things we’ve experienced these last few years. Life in general gives you so much to think about and take in—from the very particular and unusual, to normal stuff that happens every day. It’s about being in the moment…like taking a walk in a city you’ve never been to before and looking at the scenery around you. Something as simple as that can lead you to write a great song.
G—What helped you set the tone for this album?
CR—We knew being in our comfort zone was important to us, which is why we came back home to start recording the songs for the album. It was just the two of us in this small, intimate environment we were familiar with. We were in completely in our element.
G—What do you think you write about the most in your songs?
CR—It depends on the song. There’s a lot of songs about self-discovery and self-reflection—connecting to your inner voice and emotions—the deep stuff from within. But there are other songs that were written for people who are really important to me, where I’m speaking to them through the lyrics.
G—How much is the writing and producing a collective effort, and how much of it is each of you on your own?
CR—I do the songwriting, and Philipp and I produce together. When I finish the songs, we’ll meet in the studio and start working on them together. From there, it’s just a ping pong of ideas between us. That’s how we’ve always worked, and probably always will. It’s just easy for us that way.
Our friendship definitely gives us a strong foundation. Philipp and I are on the same frequency in everything we do. Musically, we have the same ear and sensibility to music.
G—Aside from being good friends, what do you think makes you two a good fit?
CR—Our friendship definitely gives us a strong foundation. Philipp and I are on the same frequency in everything we do. Musically, we have the same ear and sensibility to music. And as performers, we really help each other out. We’re just in sync a lot.
G—Has having the addition of Antonio changed the way you perform?
CR—Antonio is a good friend of ours and a great musician, so he was a perfect fit for us. He first joined us in 2015 as a guest musician, playing harmonica. He can play a lot of different instruments though, so we added him on stage so we could perform the way we always envisioned. This year, we added a drummer for that same reason. We wanted there to be instruments and not computers. Now we feel like a live band.
G—You’ve said you weren’t expecting much from the release of your very first single, “Stolen Dance”, and it went on to reach the top of numerous charts worldwide. Do you have a different outlook this time around?
CR—I think it’s a different situation. It’s been a few years now, and we didn’t want to repeat ourselves, musically. Like any success, it’s always a guessing game. So, we don’t worry about it. We just focus on creating music we love. And if people happen to be paying attention to it, that’s great. But it isn’t our priority.
G—You are currently making your way through the Blossom world tour. How have audiences been reacting to the new songs?
CR—So far, our European and North American audiences are responding well. They’re singing along and really celebrating the music. It makes us happy to see people liking what we’re doing and wanting to come to our shows.
G—Which songs from the new album are you most excited to perform live?
CR—”Alive” is a good one. It has a special cover and production to it. We really like performing that one live. “Ego”, “Doing Good”, “Firebird”, “Peripetia”…[laughs]…honestly, we’re really having fun with all of the new stuff.
G—What can fans expect from the Blossom Tour?
CR—Four guys on stage playing handmade electronic music. We’re more dynamic. There’s some nice harmonica solos, but at the same time, we’re danceable. It’s really about sharing our music with people, which we really enjoy doing.
Morgan Saint was born into a creative life. Upon growing up in Mattituck, NY with a family of musicians on her mother’s side and parents who worked in interior design, Saint graduated from Parsons School of Design in Manhattan, where she has lived for the past six years. With a major in illustration and a focus on photography and graphic design, Saint has executed a clear vision of her musical artistry. In 2017, at the age of 23, Saint released her debut EP, 17 Hero, on Epic Records. She is a storyteller at heart, combining all of her talents to reveal her narrative as truthfully as possible, one vignette at a time, as seen in all three of the EP’s videos, “Glass House”, “You”, and “Just Friends”. She co-produced each glossy, beautifully choreographed, and high-definition clip with Nathan Crooker, but the lyrics are all hers. They come from personal places yet are vague enough to be relatable. Her electronic pop is lo-fi, but you’ll most likely find yourself snapping your fingers to it. As Saint prepared for a sold-out show supporting Missio in Austin, Texas, Georgie connected with her to discuss coming into her own as a songwriter and
Listening to any track on EDEN’s debut album, vertigo, is like visiting your favourite city for the fiftieth time except nothing is quite where you remember it. The hotel is on the river, not by the park, and city hall is upside down. The Dublin-raised singer/songwriter/producer who began his career as The Eden Project, melted the best of indie, hip hop, and electronica into 13 deconstructed tracks for vertigo. Following two successful EPs, a shout-out from Lorde, and mid-way through the vertigo world tour, we caught up with EDEN to talk about his new record, and the musical evolution that brought him to it. G—From The Eden Project to the EPs to vertigo, you’ve had some pretty big changes in style. Does it feel that way to you or does it just kind of feel like you’re constantly evolving? E—I definitely see that. There are similarities [between I think you think too much of me and vertigo]—my voice still sounds the same (laughs) and there are various instruments that I just like using—but it’s about progression for me. I could never be someone to make End Credits 2 or something like that. It’s not interesting to me to stay
In the ten years since Swedish sisters Klara and Johanna Söderberg started First Aid Kit, they have been going non-stop. The indie-folk duo got their start when their cover of Fleet Foxes’ “Tiger Mountain Peasant Song” went viral, and have since released four albums, won five Swedish Grammis awards, and brought two of their idols to tears on live television. Following a brief hiatus, and four years after their last record, Stay Gold, First Aid Kit is back with Ruins, a raw account of losing love and finding yourself. In the middle of a North American tour, Georgie talked to Klara and Johanna about the new album and what brought them to Ruins. G—You’ve said in past interviews that Stay Gold was a more put-together, polished kind of album, and Ruins is a lot rawer. What caused that shift? JS—The production of Stay Gold is very lush and elegant, and I think that’s what we wanted at the time. But we started longing for this rawness, this almost lo-fi aspect that we had on our first records. [For Ruins]…our attitude was that everything doesn’t have to be perfect. If we sing a bum note or there’s a little crack