Midlake announce new album “For the Sake of Bethel Woods” out 18th March 2022 via Bella Union
Share lead track “Meanwhile…”
Announce UK/European tour including London Roundhouse performance
Midlake today announce news of their long-awaited new album, For the Sake of Bethel Woods, released 18th March via Bella Union and available to pre-order 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
To mark the occasion the band have shared a visualiser for lead track “Meanwhile…” streaming below– and announced news of an extensive European tour running throughout March and April 2022, the dates of which can be found below.
Loss and hope, isolation and communion, the cessation and renewal of purpose. Timeless and salient, these themes echo throughout the fifth album from Midlake, their first since Antiphon in 2013. Produced to layered, loving perfection by John Congleton, For the Sake of Bethel Woods is an album of immersive warmth and mystery from a band of ardent seekers, one of our generation’s finest: a band once feared lost themselves by fans, perhaps, but here revivified with freshness of intent.
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.”
This punchy synth sound emerges with the direct drum beat boosting the immersive appeal of this mesmerizing creation. The vocal harmonies add to the alluring aspect of this creative ensemble. Showcasing this array of mighty tones and addictive qualities. The arrangement explores this psychedelic space, as the rhythmic passages become this hypnotizing journey for all to take add bring this complexity to the instrumentation and the notes that develop and consume you.
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.
Midlake UK/European tour dates:
16th March – Gothenburg – Pustervik
17th March – Oslo – Vulkan Arena
18th March – Stockholm – Nalen
20th March – Copenhagen – Pumpehuset
21st March – Berlin – Columbia Theater
22nd March – Munich – Technikum
23rd March – Vienna – Flex
25th March – St. Gallen – Palace
26th March – Masstricht – Muziekgieterji
27th March – Utrecht – Ronda
29th March – Hamburg – Mojo Club
31st March – Groningen – De Oosterpport
1st April – Köln – Bürgerhaus Stollwerck
2nd April – Antwerp – Trix Club
3rd April – Paris – Alhambra
5th April – Brighton – Chalk
6th April – London – The Roundhouse
8th April – Newcastle Upon Tyne – Student’s Union
9th April – Edinburgh – Assembly Room
10th April – Manchester – Albert Hall
11th April – Dublin – Vicar Street
2. Bethel Woods
5. Feast Of Carrion
10. The End
11. Of Desire