Midlake

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Snowfield
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Re: Midlake

Post by Snowfield » 28 Sep 2021 14:51

madsun wrote: 28 Sep 2021 06:13 https://www.instagram.com/p/CUU0tNQj1DH ... =copy_link

Un altro passo in avanti per la band più lenta del mondo, stanno girando un video…che sofferenza 😂
Mad, si prendessero tutto il tempo che vogliono, se il risultato sarà simile ai precedenti dischi :wub:
Continuo a monitorare la carriera solista di Tim Smith col suo progetto HARP, ma per ora non si muove una nerchia di niente...

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madsun
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Re: Midlake

Post by madsun » 25 Oct 2021 17:49

Ci siamo:



"For the Sake of Bethel Woods" will release March 18 on @ATORecords stateside and @bellaunion overseas.
https://bellaunion.ochre.store/release/ ... thel-woods

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1 - Commune 0:54
2 - Bethel Woods 4:23
3 - Glistening 4:04
4 - Exile 3:33
5 - Feast of Carrion 4:40
6 - Noble 6:25
7 - Gone 5:08
8 - Meanwhile... 3:35
9 - Dawning 4:17
10 - The End 3:24
11 - Of Desire 3:59
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AFX
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Re: Midlake

Post by AFX » 28 Oct 2021 15:37

From the cover to the title and beyond, a longing to reconnect with that which seems lost sits at the record's core. The cover star is keyboardist/flautist Jesse Chandler's father, who, tragically, passed away in 2018. As singer Eric Pulido explains, "He was a lovely human, and it was really heavy and sad, and he came to Jesse in a dream. I reference it in a song. He said, 'Hey, Jesse, you need to get the band back together.' I didn't take that lightly. We had already had these feelings with everyone in the band of, oh, this could be a cool thing to do. But the dream was a kind of beautiful depiction of a purpose to reconvene and make music together as friends."

Featuring Chandler's father during John Sebastian's set, the cover image was taken from the 1970 documentary Woodstock. In 1969, Jesse's then-16-year-old dad had joined a friend and hitchhiked from Ridgewood, New Jersey, to the legendary festival. Raised in Woodstock after his father moved there in 1981, Jesse later paid pilgrimage to Bethel Woods with his father; there, the elder Chandler recorded an audio account of his festival experience in the museum's public database. "So for me, the picture of that kid, my dad, forever frozen in time," says Chandler, "encapsulates what it means to be in the throes of impressionable and fleeting youth, and all that the magic of music, peace, love and communion bring to it, whether one knows it at the time or not."

A desire to commune with the past and connect with present, lived experience asserts itself from the opening of the album. A song that resonates with Midlake's return and, perhaps, our lockdown era, 'Commune' can also be read in terms of a deeper urge to re-engage with sometimes neglected ideals and beliefs. 'Bethel Woods' sustains and develops that reconnection, evoking the steadfast and contemplative urgency of The Trials of Van Occupanther to back a lyric steeped in yearning for a paradisal time and place of hope and optimism. Soaring guitars and atmospheric noise effects extend a sonic scope further developed by 'Glistening,' where arpeggios dance like light glancing off a lake. In just three songs, Midlake reintroduce themselves and reach out into fresh territory with a richly intuitive dynamism, honouring their past as a seedbed of possibility.

The psychedelic space-rock and sticky guitars of 'Exile' shift the album to another plane, promising rich returns live, before 'Feast of Carrion' splices apocalyptic imagery with lustrous harmonies: darkness and light, held in rarefied balance. A deeply personal turn follows on 'Noble,' a song of tender innocence named after drummer McKenzie Smith's infant son, born with a rare brain disorder called Semi-Lobar Holoprosencephaly. Pulido, who has been friends with McKenzie since they were 16 years old, kept McKenzie in mind for the lyrics. "I wrote the song from his perspective in a way, his expression to me of how he had been feeling towards his son. And then among the lament of his condition, it's also embracing this child who has only joy. Noble doesn't know that he has a condition, he just loves life. And smiles, and is so innocent, and perfect in so many ways."

Elsewhere, the prog-enhanced funk-rock of 'Gone' seeks to find hope in relationships that seem fragile. The ELO-esque 'Meanwhile...' draws inspiration from what happened when Midlake paused after Antiphon, developing universal resonance as a song about the beautiful growths that can emerge from the cracks and gaps between things. 'Finally, 'Of Desire' meditates on letting go of what you can't control and attending to what you can during uncertain times.

Midlake began re-attending to their patch in 2019, with the bulk of the album's work undertaken when the world shut down in 2020. The lockdown turned out to be helpful, in terms of offering an escape from grim reality and focusing the band's energies – essential for an outfit whose members (Pulido, Chandler, Smith, Eric Nichelson and Joey McClellan) had all pursued alternative ventures following Antiphon. Also on-hand was new collaborator John Congleton, who produced, engineered and mixed the album, marking Midlake's first record with an outside producer. "I can't say enough just how much his influence brought our music to another sonic place than we would have," says Pulido. "I don't want to record without a producer again. Part of that is the health of the band, because as you get older you get more opinionated and you kind of need that person who says, 'No, it's going to be this way!' It's hard to do that with your friends."

The result is a powerful, warming expression of resolve and renewal for Midlake, opening up new futures for the band and honouring their storied history. An album of thematic and sonic reach with a warm, wise sense of intimacy at its heart, an album to break bread and commune with, honour the past and travel onwards with. In 'Bethel Woods', Pulido sings of gathering seeds. On For the Sake of Bethel Woods, those seeds are lovingly nurtured, taking rich and spectacular bloom.

For the Sake of Bethel Woods is available to preorder here. The album will be released in various formats including standard black vinyl, 180g white vinyl and white vinyl with an accompanying signed print. Visit the band's website for more info: www.midlakeband.com.
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hyperion
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Re: Midlake

Post by hyperion » 28 Oct 2021 17:39

Solo a me questo singolo risulta un po’ sconclusionato in certi passaggi?

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Re: Midlake

Post by The Sheltering Sky » 28 Oct 2021 18:03

hyperion wrote: 28 Oct 2021 17:39 Solo a me questo singolo risulta un po’ sconclusionato in certi passaggi?
Personalmente non lo trovo sconclusionato. Certo che lì per lì la modulazione sul verso “we’ll step aside [...]” mi ha un po’ sorpreso. :D

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Snowfield
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Re: Midlake

Post by Snowfield » 29 Oct 2021 10:08

Sincerità assoluta sul singolo?
Parte benissimo con una linea vocale molto simile all'ei fu vocalist Tim Smith, per poi schiacciare un medaglione di merda di vacca al ritornello.
Il ritornello non mi piace per nulla. E' troppo da favola celtica.
Ma il resto della linea melodica e il sound si.
Ho una voglia pazzesca di ascoltare tutto l'album.
Se a sto giro steccano, giuro che tifo Inter e mi tatuo la faccia di Peppino Prisco sul polpaccio sinistro :unsure:

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madsun
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Re: Midlake

Post by madsun » 01 Dec 2021 08:39

Dalla loro pagina facebook:
"Its intimacy, fragility, and ultimately determined resolve – has the feel of a poignant scrapbook put together with tremendous care."
Watch our session with KUTX 98.9 in studio 1A as we perform a few new ones from our upcoming album ‘For the Sake of Bethel Woods’ out March 18, 2022.
https://kutx.org/sessions-interviews/st ... ydc0FugBy0
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AFX
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Re: Midlake

Post by AFX » 19 Mar 2022 12:54

MIDLAKE
FOR THE SAKE OF BETHEL WOODS
ESCE OGGI SU BELLA UNION [PIAS]
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AFX
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Re: Midlake

Post by AFX » 19 Mar 2022 16:04

quelle più intrippanti e fumose sono migliori, le altre un canovaccio già sentito che forse non giustificano tutto questo tempo di attesa. Buona musica, non eccelsa, ma un ascolto che ti tiene al sicuro.
Almeno non fanno dad rock.
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madsun
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Re: Midlake

Post by madsun » 22 Mar 2022 09:35

Hai ragione, era lecito aspettarsi qualcosa di più dopo tutta questa attesa, sia a livello qualitativo(a volte c'è quasi il rischio di sembrare una cover band) o anche solo come minutaggio totale del disco.
Il singolo tra l'altro è forse il pezzo meno riuscito, non mi aveva impressionato alla sua uscita e continua a non farlo.
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