by Maria Kouvarou
When I pressed play and the opening notes from ‘High Low You’ resonated, it took me just ten seconds to press pause. I remained still for a while, staring at the wall, and then I run to get my headphones. When I put them on, isolating myself from the environment, I was ready to be introduced to Million. The reason? Simple. Millionpromised from the beginning to create that melancholic atmosphere that comes with a rainy spring day – the emotion that floats somewhere between the aftermath of the winter that has not made its escape yet, and the anticipation for the summer that is still on the way.
A ‘classically’ alternative album with a grunge ethos – homage to the early Muse, Radiohead and the melodicity of Steven Wilson. Heavier then most albums of similar descent due to the economic presence of guitars, distortion and vocal effects, it evades any polished pretention and, as a genuine indie child, it speaks directly to emotion. The presence of keyboards and violins in some songs adds to the whole atmosphere. Inventive melodies that bring forth the range and distinct nature of the vocals come in a discrepantbut totally harmonious marriage with the heavy and tight guitars, and with the drums that are as stripped down and as fluent as necessary, in order to complete the experience. ‘Sophisticated atmospheric rock’ i would say if I was into labeling. But I am not!
I heard Million non-stop and back to back numerous times. Each of the eleven songs is to me a journey, sometimes dark and other times hopeful, sometimes mysterious and other times sublminally vengeful. From ‘High Low You’ to ‘Sleep Baby’, Millionpromises melancholy and delivers, even in its lighter and more uplifting moments. The highlights of this album are not few, but since this is a matter of taste and perspective I will speak from a subjective point of view: ‘High Low You’ and ‘Sleep Baby’, symbolisms of a much promised beginning of a journey and its justifying end that leaves you with the best impressions.