Mikal Cronin returns with MCIII. Marked by the lush arrangements, stunning melodies, and deeply personal lyrical work for which Cronin is now known, the album is also a deliberate attempt to simply 'go big.' As he did on his self-titled 2011 debut and 2013's MCII, Cronin arranged and played nearly all of the record himself, including the tzouras, a traditional Greek string instrument he heard and subsequently bought while on tour in Athens. There's French horn, saxophone, and trumpet. There are mood-altering crescendos and heartbreaking turns-of-phrase, guitars both gorgeous and pugnacious. No longer satisfied with the sound of 'just one string player,' Cronin arranged parts for a full string quartet instead. 'It's a continuation of what I've been trying to do up until now, but I'm finding a better way to do it,' he says. 'I'm finding a more successful way of working those unexpected elements and textures and instruments into a rock record, of exploring that wormhole and mashing everything together harmoniously. I like riding the line between the two,' he adds. 'I like finding new ways to bring different musical worlds together.'
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Mikal Cronin returns with MCIII. Marked by the lush arrangements, stunning melodies, and deeply personal lyrical work for which Cronin is now known, the album is also a deliberate attempt to simply 'go big.' As he did on his self-titled 2011 debut and 2013's MCII, Cronin arranged and played nearly all of the record himself, including the tzouras, a traditional Greek string instrument he heard and subsequently bought while on tour in Athens. There's French horn, saxophone, and trumpet. There are mood-altering crescendos and heartbreaking turns-of-phrase, guitars both gorgeous and pugnacious. No longer satisfied with the sound of 'just one string player,' Cronin arranged parts for a full string quartet instead. 'It's a continuation of what I've been trying to do up until now, but I'm finding a better way to do it,' he says. 'I'm finding a more successful way of working those unexpected elements and textures and instruments into a rock record, of exploring that wormhole and mashing everything together harmoniously. I like riding the line between the two,' he adds. 'I like finding new ways to bring different musical worlds together.'
