Miike Snow – Tickets – College Street Music Hall. – New Haven, CT – September 29th, 2016

Miike Snow

Manic Productions and Premier Concerts Present:

Miike Snow

Zella Day

Thu, September 29, 2016

Doors: 7:00 pm / Show: 8:00 pm

$30.00 - $32.00

This event is all ages

This event is General Admission Standing Room on the Floor and Reserved Seated in the Balcony.

Miike Snow
Miike Snow
Miike Snow is – are – in a playful mood.  The second, somewhat orchatronic, album by the three-headed-band with the one-man-name and mysterious Jackalope symbol is called Happy To You. Why?

"It's a sign in the studio," shrugs tattooed Swedish producer Christian Karlsson. "An old mis-spelt phrase postcard from Thailand. Nothing to do with any of the songs…but it sort of stuck."

The band that should never have worked have turned a new corner, and turned myriad new tricks. Miike Snow's second album is a triumph of tunes, set to burn up airwaves and dancefloors and festival-fields through 20 12 and beyond.
"Before this album, we were an idea," reflects Pontus Winnberg. "This time we were a band. And this time, we had paid our dues – we'd toured in 27 countries for 18 months. When we came in to make Happy To You, we came in as a unit, and emotionally for us that makes a huge difference. And hopefully you can hear it."

"Miike Snow is kinda like this playground," says long-haired American singer-songwriter Andrew Wyatt. "I don't think Miike Snow functions inside of a genre. A few people wanted us to be more properly in the dance world, but I don't think this record is. Even our 'dance' songs aren't really clubby…"

So how do they define the follow-up to 2009's 200,000-selling self-titled debut?

"Fun-da-mental," suggests Wyatt with an arched eyebrow. " 'Cause it's da mental." (Not pictured: hip hop hand gesture.)
Breaking from a secret session designing the new live show, band member, producer and keys player Pontus Winnberg commented... "It's like much of our stuff – we don't really wanna tell people what the titles are about, or the lyrics, or what our thoughts are about. We'd prefer them to put them in their head and their lives and make their own interpretation. It's nice to keep a little bit of mystery."

Happy To You and happy to be here: Miike Snow are back with a big, bold, bright, colourful album bristling with tunes and (break)beats and ideas and more tunes – yes, that is an orchestra, and fo' sure, that is a marching band – and it's not so long since they were last here. They had started the band as an ad hoc side-project between other jobs – Wyatt had been working with Mark Ronson; as producer-writers Bloodshy & Avant, Winnberg and Karlsson had been cranking out the dancefloor hits such as Britney Spears' 'Piece Of Me' and 'Toxic.' They ended up with an album that was synced over 200 times in Hollywood and beyond.

But the out-of-the-box success of the ubiquitous 'Animal,' 'Black & Blue' and 'Silvia' – still playing on a radio or computer game or film soundtrack near you now – kinda took them by surprise. They toured the world for 18 eye-watering months in support of the album, their global performance schedule stretching endlessly before them, a yellow-brick-road of adventure, as the Jackalope galloped away with them. Miike Snow did some 260 shows, initially lugging their own gear into a shitty van but eventually gliding round the world with crates of cutting-edge gear in a shiny hover-bus with wings (or something).
The trio went from the dizzy foothills of Later… With Jools Holland. "The first time on the show we played with Smokey Robinson," recalls Wyatt, "and you can't get higher up on the mountain than Smokey. Then there was Yoko Ono, Eric Clapton, The Dead Weather, Basement Jaxx. Now that was competition.

They scaled the giddy heights of 3000 capacity clubs in Columbia and Chile, "hundreds of people singing along to every song," remembers Karlsson. "And that was before the record was even out!"

And they crested the peaks of some of the world's greatest festivals, from Coachella to Glastonbury.

But finally, Miike Snow came off the road last spring, and went straight into the studio in Stockholm. They thought it would take a year. They didn't care.

"We were starving to be in the studio again," says Karlsson, "because before Miike Snow we were in the studio every day for ten years. So being on the road was very new to us."

"The studio is kinda like our home," adds Winnberg. "Prior to touring with Miike Snow, from about 15 years old I think I was in the studio pretty much every day – more than I was at home. So it's a little bit of a safety zone. And also, after touring with the band, it felt we had so many ideas about how to move on musically. So we had that added urge to begin fucking around with that."

The writing and recording of their debut had taken place in fits and starts. Wyatt would fly back and forth between Stockholm and New York for a few snatched weeks at a time. "Nobody really had any expectations with the first album," admits Wyatt. "We knew we wanted to make a record but we didn't know anything beyond that. We didn't know if we would find anyone who would want to manage us as a band or put our record out."
But this time, buoyed by the success of that accidental album, things would be different. Wyatt relocated to Stockholm. The move made sense musically, and also personally.

Bunkered in their own studio – named Robot Mountain, and housed in the stables of a hundred-year-old former fire station – Miike Snow were fired by the spirit of inventiveness. The songs came thick and fast. They worked together, and alone, and in rotation.

"We passed the torch in a different way this time," says Karlsson. "We were working on more than one song at a time, and working together on everything. I liked that – then you're able to experiment when no one else is around. I'd get there in the morning and Andrew had been there all night, and I could continue. Then when I leave he comes back… It definitely changed the dynamic of the songs and the songwriting."
Says Winnberg: "For all three of us, it's a very vague difference between songwriting to production to mixing to recording – everything is just happening in a big blur. So there was definitely action going on all around the clock."
Another factor adding to the carnival whirl of inventiveness: Miike Snow actually had three recording studios on which to work, including an old place used by ABBA in the Seventies. Winnberg: "It was full of old recording equipment, and we recorded the drums and acoustic instruments in there. It added a kind of classic environment to the whole album. And it was vibey; we hung out there a lot."

The wee-hours after-party vibe of all those months on tour fed into the rippling Italo-house piano of two giant tracks. The punchy, dramatic 'Devil's Work' was aired by Zane Lowe on Radio 1 in early December, and instantly shot to Number One on the Hype Machine chart. The infectious, shouty 'Paddling Out,' set to be the first single, from Happy To You, is, according to Winnberg, an homage to a kind of dancefloor disco-inferno he's not heard in too long. Similarly, the early Nineties breakbeat of 'Pretender' was a nod to the music Karlsson grew up with.

They called in strings and brass and woodwind, and they called in a marching band – the mighty 'Devil's Work' might also be called "orchtronica", 'Bavarian#1' has an irresistible percussive pound, and 'God Help This Divorce' possesses a rich classical sweep to match a devastating lyric. "It talks about what actually happens when a couple split," says Wyatt of a song that marks the closest Miike Snow have ever come to a ballad. "It's the slowest song we've ever done."

A notch up the bpm scale is 'Vase,' a quietly epic techno-soul singalong. There's more inventiveness in 'Black Tin Box,' a burst of songwriting brilliance so robust it effortlessly marshals dark, throbbing beats, steel drums, ghost-in-the-machine singing from Wyatt and a "witchy" guest vocal from Swedish pop-sorceress Lykke Li.

"We know how to do a lot of different things, so why do the things that you've already done?" says Wyatt, explaining the ceaseless sense of adventure on Happy To You – organic meets electronic, whistling meets raving, and no guitars allowed. "I think sometimes you can gain from taking away options… And it's nice to try do some weird things – juxtapose things that shouldn't work on paper."

Maybe not. But Miike Snow's "song" songs are epically, tunefully wonderful. The jackalope is back, with extra horns (and strings and trumpets and glockenspiels and the rest).
Zella Day
Zella Day
A dusky-voiced 20-year-old singer/songwriter from deep in the mountains of Arizona, Zella Day makes electro-charged, guitar-driven indie-pop that's steeped in a magic of her own invention.

After teaching herself to play guitar at a young age and writing her first batch of songs in her teens, Zella began honing a songwriting style rooted in real-life stories but shaped by her infatuation with everything from desert mystique and old spaghetti westerns to the psychedelic culture of '60s California. Lacing her lyrical storytelling with sunlit melodies and heavy beats, the L.A.-based artist now delivers her full-length debut with KICKER—an intimate but gorgeously expansive album. Zella explains, "The music's spiritual resonance is clearly influenced by the Northern Arizona mountains that sheltered my creative energy from any outside implications of city mentality. The creatures I encountered while exploring the depths of my mind and the small town full of secrets all hold great importance to the characterization of this record. One of the most important characters that embody this story is KICKER.

"I was a young girl beginning to understand what my existence meant to the world around me, and KICKER was the ranch horseman that was coloring my imagination with the legends of his native culture. I look back now with a realization of how perfect the timing was when he came in to my life; little did I know I was being presented with a divine guidance that led me deeper into the interworking of my creative visions that contribute to my artistry today. The name of my album is in honor of the person who ignited a flame in my dream realm."

Revealing her own power to bend reality into something much more enchanted, KICKER arrives with Zella having already racked up nine #1 Hype Machine singles and drawn raves from the likes of Interview, Vice, Nylon, and Soma, who note that "There is an incandescent quality that Zella Day possesses… it resonates throughout her songs with flawless grace."

In bringing the album to life, Zella worked closely with her longtime collaborators Wally Gagel and Xandy Barry (a production/songwriting duo known for their work with Best Coast) to weave in lush yet hard-hitting electronic elements that deliver a dreamy intensity —as well as the stunning string arrangements that Zella recorded with an orchestra at the legendary Capitol Studios. Featuring lead single "Hypnotic" (a brash but breezy track that hit #1 on the Alt Nation Alt 18 Countdown at the start of 2015), KICKER matches that richness of texture with an emotional intricacy that makes each song instantly captivating.

Throughout KICKER, Zella uses her songs to explore toxic relationships and breakups and broken homes, love and lust and fascination of all kinds. Thanks to her poetic sense of imagery, magnetic vocal presence, and otherworldly sound, the album blurs truth and fiction, dark and light, beauty and pain.

With its title referencing the old Arizona mining town where her parents married, the gloriously pain-drenched album-opener "Jerome" offers an imagined portrait of the coal miner's wife who became Zella's namesake ("It's about the ghost of Zella and my idea of what her life was like," she explains. "I think of her as a girl getting married off by her family and going crazy in the cage that was now her life"). Built on a mesmerizing arrangement of strings, trumpet, piano, and infectious beats, "The Outlaw Josey Wales" gives a nod to Clint Eastwood's 1976 Western of the same name. And in its wistful vocal work and lilting melody, "1965" achieves a different kind of time-warping as Zella sings of longing to live in a more charmed time.

Elsewhere on KICKER, Zella touches on the trouble that comes with growing up and getting older, with the fierce and chilling "Sweet Ophelia" taking a bravely nuanced look at loss of virginity and "Mustang Kids" (a synth-soaked hip-hop-tinged track featuring Florida-bred rapper Baby E) giving a gritty glimpse at "what it's like to be a bored kid in a small town with nowhere to go and nothing to do," as Zella notes. On the bittersweet and breathtaking "High," she reflects on a toxic relationship where the only connection comes from indulging in self-destructive behavior (sample lyric: "As long as we keep getting high/Keep burning like we're never gonna die"). Also proving herself skilled in laying down a gut-punching love song, Zella channels her raw emotional energy into tracks like "Jameson," a stripped-down and soulful number that illuminates the heartbreak of loving someone in the depths of despair. And in naming her favorite song on KICKER, Zella chooses the hushed and lovely piano ballad "Compass," a serenade to her tiny hometown of Pinetop, Arizona. "When I was living in Pinetop, all I wanted was to get out," she says. "But now that I can look back on where I came from, I realize more than ever how much that place is a part of me."

At age 14, shortly after getting her start playing music at a nearby coffeehouse owned by her grandmother, Zella recorded an album of her own material. With buzz building after the album's release, she then began making frequent trips to Nashville to join in songwriting sessions with musicians like John Paul White from the Civil Wars. But while working in Nashville went a long way in sharpening her songwriting craft, Zella envisioned her music taking on an edgy sonic atmosphere that departed from the Nashville aesthetic. Soon enough, she landed a deal with LA tastemaker label B3SCI, who released Zella's debut self-titled EP on limited edition vinyl last fall. From there, she created her imprint Pinetop Records in partnership with Hollywood Records, and set to work on creating the ethereal and electronic-enhanced sound that makes KICKER so dynamic.

Fresh off a West Coast tour—and gearing up to play major festivals like Lollapalooza this summer—Zella is awaiting KICKER's release with a fluttery anticipation. "Sometimes I have to close my eyes when I'm listening to these songs, because I feel like I'm telling everyone all my secrets," she says. "But at the same time I'm proud that I was able to be that fearless and not hold back from putting so much truth into the album."
Venue Information:
College Street Music Hall.
238 College Street
New Haven, CT, 06510
http://www.collegestreetmusichall.com

Parking Information