Midlake: The Trials of Van Occupanther

Midlake is no stranger to this scene. Their 2004 debut Bamnan & Silvercork was said to channel the Flaming Lips, which it did, alot. Quirky, weirdo-rock with electronic blips and bloops, synthesized choirs, and even the patented Wayne Coyne whine. The reviewers took their time in recognizing the album, but when they did, they hailed it as mildly genius, a young band lucky enough to have their debut album mentioned in a sentence next to Neutral Milk Hotel and the Flaming Lips. Two years later, Midlake returns with a completely different sound. To begin with, they appear to have traveled back in time.

Despite their own electric guitars, synthesizers, and black turtlenecks, the men of Midlake seem to be quite certain that they themselves hail from somewhere (somewhen) around the medieval times. Chopping firewood, gathering in spring, fetching water from a well. Images of a forest commune, frozen trees, and mountains. The Trials of Van Occupanther is a concept album, a character piece, following the life and times of one Van Occupanther, whoever that is. And they never tell you, other than in "Van Occupanther," where Smith repeats, "I'm Van Occupanther," which is no help at all, really.

But it doesn't really matter who Van Occupanther is, because Midlake has created a mood, centered on the idea of time. The story is about the past, however murky, whether it happens to be the middle ages or "1891" (as in album opener "Roscoe"), and the music makes this very clear without the lyrics having to help out too much.

Van Occupanther is content, though a bit melancholy; self-deprecating in a gentle way. He is faced with unrequited love for much of the time: a second subject, a nameless "she," is observed from afar as she completes daily tasks.

"We won't be married,
Because she won't have me.
It's hard for me,
But I'm trying."

For the past few months, nearly everybody has been enamored with the album's first single, "Young Bride" (see video below), which is, unfortunately and easily, the most accessible song on the album. It has a catchy speed that is very specific to it, and it alone, as it stands in this lineup of songs. And yet, the rest of the album flows by beautifully without it, and seems to have a more calming, "you bought it, now listen" feel.



You have the basic guitar/bass/drum setup, and then you have piano, but then you have all manner of orchestral sounds that creep in without you realizing it. Violins back up the harmonies, and airy flutes reinforce the ancient themes. As the songs roll by, you catch glimpses of the Beatles, of Brian Wilson, of Crosby, Stills, Nash & Young, and tight three-part harmony cascades over Rickenbackers, Rolands and Korgs masquerading as archaic instruments of yore.

Singer/songwriter Tim Smith has lost his Wayne Coyne, and has picked up a little bit of Fleetwood Mac fronted by Thom Yorke (after Mr. Yorke has had a few conventional singing lessons). "Van Occupanther" recalls the opening two chords (and their vocal harmonies) of Dylan's "I Shall Be Released," and "Branches" features vocal harmony that mimics Radiohead's major-minor chord resolutions, and yet as a whole, The Trials of Van Occupanther is such a finely adjusted piece of work, so original in its effect and so haunting in its mood, that it may be in the running for this year's Illinois.

Midlake - Van Occupanther (mp3)
Midlake - Branches (mp3)

(P.S. listen to the two-syllable "laugh" at 1:50 in "Van Occupanther." That always gets me, that two-syllable "laugh.")

[buy The Trials of Van Occupanther at Insound]