Minnesnowta Music Blog

Milo Greene – “Control”
     MMB Rating: 6.8

After their debut 2012 self-titled release, Milo Greene, the fictitious booking agent/band name created by members  Robbie Arnett, Graham Fink, Marlana Sheetz, Andrew Heringer and Curtis Marrero developed what I would call a “cult” following, instantly gaining super-fans across the world who loved the innocence and charm of this new folk/indie rock group. With hits like “1957” and “Silent Way,” the quartet demonstrated each and ever members’ abilities as musicians and vocalists, altering vocal responsibilities on a track by track basis. After years of restless eagerness for more, the fans of the Los Angeles, CA based group were pleased to hear the announcement of “Control” their sophomore album which is set to be released on January 27th via Elektra Records.

Let me begin by stating that I am personally a huge fan of Milo Greene, and was swept up in their “cult” following after hearing “1957” for the first time.  That being said, “Control” is what I can only describe as a major mis-fire.  Admitted by the band, and obvious from the moment track #1 begins, this new album took the group in a different direction tonally.  Straying away from their indie/folk rock sound, “Control” explores a much more percussive, mysterious, and dance-based sound.

At the beginning of the album, “White Lies,” “On The Fence,” and “Save Yourself” all share very similar qualities, with them being quite upbeat and percussive in nature, reminiscent of a bad 1980’s dance song.  As expected, the vocals are shared between the usual four members and continue this partnership throughout the album.  Discouragingly, it took me until track #5 before I heard anything meaningful whatsoever.  While I have to appreciate the fact that the band was courageous enough to venture into new territory, it pains me to say that this “80’s dance” vibe prevalent throughout these first few tracks just isn’t the groups’ cup of tea, nor mine.

Much to my reprieve, “Heartless” deviates from the opening tracks, and shows glimpses of the “classic” Milo Greene, however still falling short.  With the well blended vocals being the only notable aspect, this track is still missing the charm that the group was able to convey in their debut album.  “Parents House” with its dark and ominous theme, simplistic percussion, and exchanging male/female vocals, somehow reminds me of The XX, almost to a T, something I never would have expected from this group.  Finishing the track with an electronic/synth postlude very Foster The People-esque (A group who’s sophomore album was also a huge let-down, and strangely enough produced by the same person as this album) Milo Greene once again fall short of confidently “owning” this new sound.

“Gramercy,” “Lie To Me,” and “Not Enough,” regrettably continue to fizzle out, failing to create anything memorable, notable, and ultimately are forgettable.  On a more interesting note, on “When It’s Done” the muffled guitar melody, upbeat pace, and the crisp male vocals are incredibly reminiscent of “The Killers,” yet another new sound for the group, and amounts to one of the highlights of the album.  Pleasantly ending things off are “Lonely Eyes” and “Royal Blue,” a track with a sort of island groove and rich lush harmonies, and a track returning to folk roots with the combination of Arnett, Fink, Sheets and Herringer’s vocals complimenting each other superbly, although unfortunately it is too little too late.

While continuing to demonstrate their capacity for seamlessly blending harmonies, exchanging call and response style vocals, and showing diversity/range with 4 vocalists, the new sonic direction taken by Milo Greene on “Control” simply isn’t their forte.  Although I don’t believe this album will cripple the bands’ future success, I strongly believe that a self-examination needs to be done, and a so called “return to classic Milo Greene” is going to be imperative to hold on to their original super-fans and to create a sincerely meaningful work of art.  The sweetness and charm in the face of darkness created on the band’s debut album remains something simply spectacular.

Pre-Order on iTunes l Milo Greene Website l Facebook l Twitter

2015 Tour Dates:
February, 10                           Santa Barbara, CA – SOhO
February, 11                           San Francisco, CA – The Independent
February, 13                           Portland, OR – Doug Fir Lounge
February, 14                           Vancouver, BC – Electric Owl
February, 15                           Seattle, WA – Columbia City Theater
February, 19                           Los Angeles, CA – El Rey Theater
February, 26                           Salt Lake City, UT – The State Room
February, 27                           Denver, CO – Bluebird Theater
February, 28                           Kansas City, MO – the recordBar
March, 01                               St. Louis, MO – Blueberry Hill
March, 03                               Omaha, NE – The Waiting Room
March, 04                               Minneapolis, MN – Fine Line Music Café
March, 05                               Chicago, IL – Lincoln Hall
March, 07                               Detroit, MI – Magic Stick
March, 08                               Toronto, ON – Horseshoe Tavern
March, 10                               Montreal, QC – La Sala Rossa
March, 11                               Cambridge, MA – The Sinclair
March, 12                               New York NY – Bowery Ballroom
March, 13                               Brooklyn, NY – Music Hall of Williamsburg
March, 14                               Philadelphia, PA – Johnny Brenda’s
March, 15                               Washington, DC – Rock & Roll Hotel