MIDLAKE

If the career of a successful band is comprised of a number of breakthroughs in audience acclaim and artistic achievement, then "Trials of Van Occupanther" marks the first breakthrough for this earnest Denton, TX band.

In addition to its transfixing if somewhat opaque story line and uniformity, as opposed to redundancy, of style, "Van Occupanther" represents probably the most convincing album of 1970s influenced art rock recorded by artists too young to remember that decade first hand. The almost non stop emotive melodies pay homage to FLEETWOOD MAC, AMERICA, LOGGINS AND MESSINA, THE EAGLES, and some Brits like DIRE STRAITS, AMAZING BLONDEL (post John Gladwin period) and MAGNA CARTA. No one influence dominates, although the laid back California sound of that period often returns to impart the sensuous shivery awe of a sunny, tranquil west coast day. At the same time, the group has distilled the most enduring aspects of the music of that period, and produced one of the freshest albums of its own decade. I actively dislike most of the EAGLES output, recognize AMERICA's limitations, find MAGNA CARTA a bit boring, enjoy a few LOGGINS and MESSINA songs in small doses, ok I do love FLEETWOOD MAC, but my point is that MIDLAKE concocts an eclectic and more emotionally grounded vision.

On first listens this is just pleasant enough, but it is with every return visit to MIDLAKE's alternate reality that one comes to appreciate the album's ability to transport its audience. Its progressive virtues slowly and shyly reveal themselves in tracks like the stunning "Young Bride", which hints at the band's upcoming subservience to all matters English; "Branches", which shuffles along before tastefully bursting out; "In this Camp" and the plaintive keeper "Bandits". But really, all the material presented here is good or better, ultimately made excellent by the manner in which it is loyally compiled. Yes, even, maybe especially, the FLEETWOOD MAC related indulgences like "Roscoe" and driving beauty "Head Home",

While not matching the immediate impact of the follow up "The Courage of Others", "Trials of Van Occupanther" may ultimately prove more sustaining. Time will tell, but, in the case of "Trials" the verdict is in.

This was Midlake's third album that followed four years after "The Trials Of Van Occupanther". It's a much stronger work over all. And this time there's an overwhelming influence of English folk rock. For those who have enjoyed works by Fairport Convention, Pentangle or Nick Drake, this ought to sound like a wonderful prospect, and it really is wonderful coming from this band. This album shouldn't disappoint lovers of early progressive folk, especially with such tracks like "Acts Of Man" and "Winter Dies". The melodies leave a deep impression and Tim Smith's vocals along with the harmonizing sometimes give me goosebumps, no more than the opening to the chorus of "Core of Nature" - 'Into the core of nature, No earthly mind can enter' which is a line from a poem by Johann Wolfgang von Goethe. There's more flute work on this album too and the very atmospheric solo on "Rulers, Ruling All Things" feels like a friendly nod to some early Moody Blues pieces. If you compare this to "Trials", with its use of more electric guitars and keyboards, this has a more early 70's feel, and it is really a different experience. It's only a pity that like with most band's these days, we often have to wait a few years between album releases. Still, with music this great it's better late than never! Keep listening to this album, it will grow on you more and more. Four solid stars.

It's great to see Midlake are here on the prog archives. I was very pleased to discover this Texan band upon this album's release. This was their second studio album, and as another reviewer pointed out, there are heavy influences from 1970's American-styled psychedelic folk-rock such as Neil Young and I also feel some Fleetwood Mac among others, especially on the opening track "Roscoe". It's a lush, melodic album and well-constructed with emotional, harmonic vocals sometimes reminding me of Simon and Garfunkel, though at the same time there's still no mistaking their sound for anyone else's. The lyrics are often enchanting bringing up imagery set in woodlands, boats and log cabins; telling some moving tales of pioneering, travel and isolation. It really has the power to take the listener away. 'Bandits' delivers a nice message to reflect on about our possessions. The instrumentation is wonderful, nice work from the flute and acoustics and also analog synthesisers. The first three songs are the strongest, "Head Home" being the best of all. I'll have to agree with Finnforest that the second half of the album isn't quite as strong as the first half, though there are some fine melancholic pieces. I really like "We gathered In Spring" with its glistening 80's sounding keyboards and "It Covers The Hillsides" is really nice too, though the last two pieces sound like bonus tracks. This is a good album in all however, highly recommended to fans of the prog-folk genre.

It's all too easy to dismiss modern rock as a triumph of style over substance, tuneless rhyming, so much noise, but that would be too much like how parents have decried their kids' music ever since "Rock around the Clock", and probably well before. The older one gets, the harder it becomes to keep up with changes in pop culture, as occupied as one becomes with work, kids, or other interests and commitments like a perennial search for the best modern prog recording. Actually, none of those pursuits is necessarily age related. And none of what I am saying necessarily applies to MIDLAKE's "Courage of Others. That is because this is unabashed throwback to that better time, which happened to be prog's peak. MIDLAKE rests on the periphery of the genre of our affection, again neither here nor there, because their latest album occupies the molten core at all that was best in music during the early 70s, preserved with integrity, and shuttled to the present day while rendering any "best before" dates superfluous.

The influences of progressive and non progressive artists of the 70s suffuses the MIDLAKE personality like Florida sun on a northerner's pale February skin. The opening cut "Acts of Man"'s guitars are picked like Fripp on "Epitaph", and the melody is almost as enduring. Elsewhere, although less obviously, we are reminded of TULL, STRAWBS, PENTANGLE and, generally, WISHBONE ASH in perennial ballad mode. The sensitive touch of an AMERICA or even a BREAD can also be discerned. The monster cut "Children of the Grounds" pays FLEETWOOD MAC homage, tying together disparate eras like that of BOB WELCH and LINDSAY BUCKINGHAM. But the other many highlights establish the credentials of that rare serious band who elevate themselves above mere alternative rock to alternative lifestyle - "Rulers, Ruling All Things", "Winter Dies", "Core of Nature", and the stunning closer "In the Ground", which is probably the most progressive piece here in the literal and interpretive sense. In the end, MIDLAKE's earnest dramatic and nigh irrevocable expression of loss and their acoustic British Isles prog folk reveries establish their uncool credentials in a manner that scuttles most alt rock bands however alternative they may profess to be. I'm sold.

It would have been a tad immodest but not at all inaccurate for MIDLAKE to have titled this "The Courage of Ourselves". A modern retro masterpiece.

Woodsy indie folk-rock with a slight dark tinge

Midlake is an indie rock band from Denton, Texas around since the late 1990s, with three unique and different studio albums to their name. Their middle album is the forest-friendly folk/art-rock collection 'The Trials of Van Occupanther.' While there is little prog to be found here (their next album would be proggier if that matters to you) this album was quite a surprise when I purchased it in 2006. It channels and celebrates some of the best acoustic rock moments of the 1970s, California rock, folk-rock, bands like America, Pure Prairie League, and Neil Young (especially the album 'After the Gold Rush' which carries a very similar vibe-more on that later). This love of that era is blended with modern sensibilities, and while the band claims a Radiohead influence, I hear a softer, less jammy version of My Morning Jacket personally.

The album is a mixed bag with a drop-dead excellent first half and a second half that doesn't come close to matching it. It starts very strong with the superb, totally accessible alt-country of 'Roscoe' featuring a bludgeoning bass line and nice piano fills in around the edges, with moody themes that conjure thoughts of secretive past days. 'Bandits' and the title track show off the mellow and acoustic side, where multiple warm guitars and amazing vocal harmonies fill out these odes to freedom and woodland fantasy, at least that's what the lyrics mean to me, escape. 'Young Bride' is another stellar highlight. An incredible opening of fiddle music is sideswiped by this colorful drum shuffle that just interrupts it for a most unusual song feel, then the track swoons with more gorgeous melody and great storytelling, really impressive. Several tracks are adorned with flute or keyboards to thicken the guitars. But as mentioned, side two cannot maintain the same level of quality. The second half sounds less inspired and more repetitive, with simpler acoustic numbers which have less surprises and less interesting arrangements. It brings the album down a full star without question. Still, 'Van Occupanther' is a homey and heartfelt collection of songs that should appeal to fans of wistful 70s guitar/harmony rock. It's a great album for a ride in the country or sharing a beer with friends.

Again, if you like the album 'After the Gold Rush' I would definitely recommend this one which shares it spirit. 'Van Occupanther' for me recalls songs like 'Tell Me Why,' 'Till the Morning Comes,' and 'I Believe in You.' If you like that side of Neil, buy this one.