Midlake Remain Picturesque But Guarded on For The Sake of Bethel Woods
The band’s fifth album–their first in almost a decade–contains stunning rhythms but still leaves something to be desired
Throughout their career, Midlake has always capitalized on perfecting a sound so serene that when it approaches any kind of perceivable discord, it manages to gently lull listeners back with a quiet softness. It’s evident in the gentle rumblings of “Young Bride,” one of the most memorable moments from the band’s breakout 2006 album, The Trials of Van Occupanther.
Former lead vocalist Tim Smith made gentle but biting observations of a woman whose relationship is aging her but is powerless to its wrath (comparable to the 2008 single from Death Cab for Cutie’s entitled “Cath”). This is when the Texas natives were at their best; their lyricism was potent and the instrumentation was gentle but all-encompassing. Smith had the capability of bringing fans up to the highest highs and down to the lowest lows-it’s what separates the good storytellers from the great ones.
That prowess is still palpable under the guidance of frontman Eric Pulido on For The Sake of Bethel Woods, which is the group’s first album in 9 years. However, it is not as acute as it was on previous efforts. “Commune,” the opening track on the record, flaunts ravenous, high-paced guitar chords juxtaposed with ominous phrases (“Gone are the days of want and need/Brought all along by the Prince of Peace/With us be”).
It teases a reconnaissance of sorts: after nearly 10 years, what can Midlake bring to the table that they haven’t already shown us before? The answer is a bit more complicated than one might think.