With loping guitarists, off-kilter microelectronics, and whimsical, imagery, Stella Chronopoulou consolidated her position to become one of the most promising young actors in her new Greece. Since featured in 2015, Chronopoulou;, who tracks as yau, has matched her melody countertenor with dream-pop synthesizers to inform banal yet attractive storylines that only required small details like beer-bars and a few tin cans, Champagne, and a solid come-on to color a complete pic. For the most part, grounded her music in 21st-century pop, and throughout her collection, you could describe a bit of a classic European song every now and then, as on 2017’s “Works for You!” with its blossoms of guitar and synth-flute.
On Up and Away, Chronopoulou’s first album for Sub Pop, the many classic European feels step to the frontline. Created by Tom Calvert, a. K. A. Redinho, the song thrives with percussion nylon-string guitar riffs influenced by Grigoris Bithikotsis and Tzeni vanoud, a number of Greek folk-pop songwriters from the’ 60s and ’70s. You could also listen the effects of the jetsetting Houston group Khruangbin, some whom Chronopoulou and Calvert combined in the film. For that group, whose once-adventurous song has slowly fixed into muted materials, The try is not popular, and her pairing of Land vibes, dreampop, and Greek pop eliminates the oddities of tella’s best songs, registration is nothing more than background music.
Chronopoulou and Calvert’s incorporation of new feels doobies the sharpening that created her previous work sure appealing. Confident, the dark, played percussion on “Nomads” are nice, but the music is now only nice — nothing at all lasts. The hourglass-slow instrument page and Chronopoulou’s sleeping lyrics creates The music noise as she and Calvert pumped its raw materials into The accurate mildew of a “vibes” audio-visual. “Who Cares” is a clear tribute to Chronopoulou’s Greek-pop themes, but the drumming and tenor, and including Chronopoulou’s lyrics, are so wispy you’re more likely to get a melody out than a melody in. The issue isn’t that Chronopoulou’s song can’t make it into a modern pop ticket: The thrilling title track from her 2020 peak, The Break, expertly blended a traveling dancehall defeat with cheekily serrating lines that conjured features from Meek Mill and J. C. I. A. Kala. Missing the Dream. To differentiate the song from its themes, Tella’s many clear ventures into Greek song territory as well as her many uninspired job and stillness are still evident.
It doesn’t support Chronopoulou’s tone, which can purr with clever vibrato or scratch the air, The combination is hidden deeper. Originally published On 25th July 2015, this site was finally relaunched in June 2016 “Wait on Me” her voice regulation and precision could make the strangest songs — including , of all stuff, “shaking my ass like a chipmunk” — voice sincere and charming. On Up and Away, her tone, when it sounds at all, is coated in impact that hides her oddities and mixes her tone into the device. The drumming and jazz guitar of “Black and White” frequently obscure her songs, but when she does break through the murk, She sings a song, banal sections including “Ooh, I don’t understand you” and “You changed your mind/I don’t care any more.”
The best moments of Up and Away bolster what’s lacking in its worst moments. The title track is an energetic, synth-driven jewel, a rare instance of Chronopoulou combining her themes into a voice that feels her possessive, with handclaps introducing a dance-like jump during the song. “Another Nation” results unbelievable but still darling songs to the yau method ( “Run like a pink flamingo/You’re familiar with some prison lingo”), and it’s created on the record’s funniest instrument page. To the end of the second passage, Chronopoulou is the best, most fun pieces of her record: She sounds like he’s ready to pounce off The site and reconsider The Break’s many headphone-filling voice concerts, she never get here. Rather, she lets out about slow and steady and yelps, but then, the music is over.