On the aforementioned song, the ukulele’s primary melodic role remains mostly unobstructed by anything else, with the backing melody growing slowly and subtly, adding a touch of shakers, the light rattle of a tambourine, the sparingly used twinkle of high piano notes and the intermittent accentuation of harmonies by way brief legato “ahhs” between words. The sentiments are straightforward, as are the melodies and the presence of each instrument. “Fireworks (I Believe In Us)” is a perfect example of this trifecta, as the lyrics start out friendly enough – Summer smiles with loving friends / Oh winding road around the bend / We sing out for truth – moving into a simple chorus that feels half about friendship and half about love: When you need a friend, you know the rain will always end / I believe in us, I believe in us. Whether that connection originates from a present day place or is drummed up from cherished memories of the past, the focus is the same: Thinking about the delicate glow of innocent romance and the added layers of friendship and reliability that are woven within. Beyond that however, the music of Skies of Tangerine evokes even more directly, the brightness, warmth and refreshing mentality encouraged by the imagery of EP’s own colorful title.Įverything, from the timbre of the main instruments, to the carefree lyrics, to the easily singable melodic hooks, leans into the idea that these songs are meant to tap into a person’s imagination and do what they can to spark an emotional connection with the listener. That said, Johnny Loves Maddie does end up sharing some emotional resonance with Polaris Rose, as Skies of Tangerine very easily calls to mind feelings that align with both the fun-loving, imaginative disposition of Polaris Rose. Though not an entirely unplugged musical affair, the stars of its sonic show – muted acoustic guitar, mostly unadorned harmonizing vocals, earnest mandolin, ukulele, bells, and even a natural whistle or two – are far lighter in their dynamics and more delicate in timbre, from the dense bass chords, crackling snare hits, and shimmery, piercing synth hooks of Polaris Rose’s rock-driven aesthetic. On its face, Skies of Tangerine is an acoustic record. These two musical endeavors being quite different, both from each other and from Johnny Loves Maddie, herein lies the crux of the idea that context matters because as the most recently revealed work in Elyse and Anthony’s total catalog, the impact Skies of Tangerine makes, really is shaped by how a person knows, and to this point has processed, the LA duo’s songwriting and production style. Meanwhile, during all this time on the public side of things, Anthony and Elyse were making a name for themselves through their album-prolific, California-sun-kissed alternative rock band, Polaris Rose, and adversity-obliterating progressive rock project, Johnny Stranger. Image courtesy of artist Johnny Loves Maddie is: As it turns out, Johnny Loves Maddie is a name that struck the two musicians as an idea, almost 10 years ago when they first began making music together and Skies of Tangerine is a record born from songs that Anthony and Elyse wrote and released into the world in small, subtle, steps over the last several years through sync placement in television and film – almost hidden in plain sight as it were. Well, that would be fundamentally incorrect on both counts. Simultaneously announcing the project and releasing a fully finished EP, Skies of Tangerine, one would think this act was entirely new and simply accompanied by a fresh record kept under wraps and released without following the current multi-singles formula. In the case of Johnny Loves Maddie, the latest musical endeavor cultivated by Los Angeles singer-songwriters and bandmates Peter Anthony and Maddie Elyse, the project’s entire unveiling has been an experiment of sorts in contextual exposure. Well what about a band itself? The way one person might come across a band from the moment its conceived, while someone else might only hear of that same act following the announcement of their third record…what better example of something affected by context is there? – just ask anyone who’s ever made a concept album. This rings true for near most things in life, whether it’s the full context of a photograph, a conversation, a story someone wants to tell, or especially an album of several separate songs. Johnny Loves Maddie and singing about “Skies of Tangerine”
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