In the charts, Midlake are just onlookers – but the effect of their beautiful folk rock records is great. The comeback of the US band after almost a decade exudes this mysterious magic.
Berlin – A 20-year band career and just five studio albums, the youngest after an almost endless break of nine years: Midlake have often made themselves rare – also due to personnel changes including a frontman change.
The comebacks of the Texans from the small town of Denton were all the more eagerly awaited. And it was always small marvels of folk rock art.
So now “For The Sake Of Bethel Woods” – the album title alludes to the location of the legendary Woodstock festival, and that suits the music pretty well. When the psychedelic playful songs “Bethel Woods”, “Glistening” and “Exile” sound after the short intro “Commune”, you are immediately right in the middle of the fairytale-enchanted world of bandleader Eric Pulido and his currently four comrades-in-arms.
Back to the 60’s
British and American folk of the late 1960s merge perfectly with the artistically ambitious rock music of the decade that followed. But that’s not even the climax. It’s titled “Feast Of Carrion” and, with its wonderful harmony vocals, is reminiscent of the best Midlake album to date, “The Trials Of Van Occupanther” (2006). The krautrock driving “Gone” and the concluding wall-of-sound ballad “Of Desire” are similarly successful.
After various part-time jobs – in the case of Pulido, the indie pop star project BNQT – the Americans, under the direction of top producer John Congleton, have mobilized all creative juices for a record that not only sounds fantastically beautiful, but also soothingly soothing. If escaping the world in the face of crises and war, then perhaps with the eleven new Midlake songs that are just glowing with warmth. dpa
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