Tales of abandoned lovers are nothing new. However, the spin that Milo Greene, an LA indie-pop band of 5, not one person as many people think, (Milo Greene is the fictional manager of the group and the band describes the imaginary figure to The Guardian: "He's British. He wears a three-piece-suit. He wears a monocle. He's albino. He has chops, sideburns. He's confident, charming, well-read, well-spoken. He's a gentlemen [sic], the kind of guy we all aspire to be."), puts on the tale of an abandoned love comes together in a mesh of melodies that combine folk and pop to transport the listener to a time where the love is fading away:
Your house that sits behind me is covered in ivy green
The windows that we watch from are old and chipping at the beam
Takes me away, takes me away, takes me away
Takes me away, takes me away, takes me away
Genius
Consequence of Sound pegs this song, "“1957”, employs another bit of mathematics—in this case, the rule of three. The verses are quiet and sparse, building with gradually more and more backing instrumentation. By the time the chorus hits, the song’s momentum strikes critical mass, and the vocals explode. The initial repetition of “I’ll go, I’ll go, I’ll go/ I” is layered over a second line: “Takes me away, takes me away, takes me away.” Whether it’s the inherent satisfaction of those sets of three or the addictive rise and fall of the harmonies, “1957” warrants repeated listens."
BBC notes that in the album, the ‘big single’, 1957, is the album’s most direct moment, and it wouldn’t be out of place on the recent Of Monsters and Men record. This is followed by the fact that the band adores Fleetwood Mac, and the evidence of their adoration is evident in this song and a number of others in the album.
So I say, hats off to you, Milo Greene, for this song that allows the listener to bathe in the soothing, addictive melody, and at the same time remind that love is just around the corner (or not).
