Midlake - The Trials of Van Occupanther (2006) (2 Viewers)

Title: The Trials of Van Occupanther
Artist: Midlake
Genre: Rock
Released: 2006

Tracks:
1 - Roscoe - 4:49
2 - Bandits - 4:04
3 - Head Home - 5:46
4 - Van Occupanther - 3:16
5 - Young Bride - 4:57
6 - Branches - 5:03
7 - In This Camp - 5:44
8 - We Gathered in Spring - 3:33
9 - It Covers the Hillsides - 3:14
10 - Chasing After Deer - 2:42
11 - You Never Arrived - 1:40

Overview:
In 2006, Van Occupanther was hailed as an instant classic and over the course of the next year proved to be the band’s commercial breakthrough. While their debut, 2004’s Bamnan and Slivercork, had drawn acclaim alongside comparisons to Grandaddy and Radiohead, Midlake looked further afield and deeper within for the follow-up. Suffused with a romantic yearning for the simpler life progress leaves behind, this was a record pitched between 1871, 1971 and somewhere out of time: between Henry David Thoreau and Neil Young’s After the Gold Rush, between 1970s Laurel Canyon thinking and a longing for something more mysterious. Rich reserves of wistful melody, dreamy horns, rolling guitars and plaintive pianos reflect its elusive, idiosyncratic narratives: a couple long to be robbed by bandits so they can start anew, an outcast scientist ponders his pariah status, a woman chases a frisky deer, a river leads who knows where yet leaves you little choice but to follow…

Formed in the small town of Denton, with roots in the University of North Texas College of Music, Midlake attracted an early follower in Simon Raymonde, Bella Union Records owner and former Cocteau Twin. Raymonde fell in love with the band, and together they cultivated a relationship built on sharing Midlake’s music with the world. After the band’s debut became a favourite for many critics and fans, Midlake nurtured the desire to accomplish something even more unique. As Tim Smith, singer/songwriter for Midlake, said back then: “Compared to Bamnan and Slivercork, this album uses less keyboards in favour of acoustic guitar, piano, more vocals and electric guitar. The sound is something more related to ’70s folk-rock but not in a gimmicky way, hopefully. I have a great affinity for those bands from the ’70s, the music just seems to move me more. So when writing this album, of course those sounds came out in the music.”

Over 2006, audiences soon realised there was nothing “gimmicky” at work here. Famous admirers included Thom Yorke, Beck, The Flaming Lips, Paul Weller, James Dean Bradfield, St Vincent, actor/skateboarder Jason Lee and The Chemical Brothers; the latter gave Smith the vocal slot on “The Pills Won’t Help You Now”, the sadly stoical highlight from their 2007 album, We Are the Night. After Midlake’s 2006 touring schedule took them to an ever-growing fanbase, the music press awarded Van Occupanther high placings in end-of-year polls. Since then, their influence has perhaps been felt in the breakthrough of many a band or singer at one with the stuff of beards, bucolic yearning and blissful West Coast harmonies, from Fleet Foxes to Band of Horses, The Low Anthem, Jonathan Wilson, Matthew E White and beyond.

Not that Midlake stood still to lap up the praise: a band acutely attuned to nature’s shifts, they embraced change. In 2010, they ventured into darker psych-folk thickets for The Courage of Others and backed John Grant on his lustrously spiky breakthrough album, Queen of Denmark. When Tim Smith departed Midlake afterwards, guitarist/singer Eric Pulido stepped up to the lead vocal role for 2013’s freshly exploratory Antiphon. Since then, Pulido and various Midlake members have embarked on a new musical project with a cast of all-stars, including members of Grandaddy, Franz Ferdinand, Band of Horses and Travis.

All of this serves to reminds us what fertile seeds were sown with The Trials of Van Occupanther: a modern classic, made of vintage craft and timeless magic.
Hopefully this doesn't make anyone too angry:

Roscoe reminds me of Fleetwood Mac. His vocals, that sort of chasing/driving beat, those little tight fills, rhythm guitar all overdrive-ey. Maybe not the intro, but from about 30 seconds in, I dunno man, Fleetwood Mac vibe.
Its good but its not Fleetwood Mac good
 
I haven’t listened to it yet but the Fleetwood Mac comparisons are putting me right off.

It was just the first song. Roscoe I think. Well, there might have been other bits and pieces.

I was second guessing myself, but it does look like I'm not the first person on the planet that thinks this:

 
Right, I hate this. Anachronistic, professional music made by vibe merchants with nothing to say about anything, it's like listening to a travel brochure. Fleetwood Mac at least had the decency to be drug-addicted lunatics going off the deep end.

I'll give it a 4/10 because its very, very shiny and probably a good album for people into microphones and plugins.

On the plus side, this kind of bearded, mountain man thing is so hackneyed it can be made by AI these days.
 
Right, I hate this. Anachronistic, professional music made by vibe merchants with nothing to say about anything, it's like listening to a travel brochure. Fleetwood Mac at least had the decency to be drug-addicted lunatics going off the deep end.

I'll give it a 4/10 because its very, very shiny and probably a good album for people into microphones and plugins.

On the plus side, this kind of bearded, mountain man thing is so hackneyed it can be made by AI these days.

3 listens.
 
I knew the name midlake but didn't know the music. I quiet like the album over all. A few gripes, mainly the sameiness of the vocals. Theres a moany, whiney sound to them, which gets a bit irritating. And the same type of melodies & harmonies are used on every song. It makes the songs sound homogeneous, & difficult to separate. I see Rumours mentioned in comparison...i take it they mean sonically. It does have that dry 70s LA production sound, but more rustic. I don't hear any songs with the pop craftsmanship of rumours though. I must admit I've never listened to rumours all the way through, but I know the hits of course.


1 - Roscoe - 4:41

Two seconds in & I’m thinking of the MASH theme tune. I like the instrumental breaks. The song feels longer than it is. I think it’s the constant almost motorik drums, the chugging guitars & the vocals having the same tone & delivery throughout. I like it, not totally sold, but a good start.


2 - Bandits - 4:04

Lovely musical intro. There's so much double tracked vocals that it's strange when you hear a single voice. I’m trying to think of who the vocals remind me of…it’s kind of like Tom Yorke does Americana. I like the song. There's another really nice instrumental section from 2:52 – 3:15. Yeah, it’s a good un.


3 - Head Home - 5:46

Nice intro. Lovely autumnal instrumental parts. Some nice harmonies going on. The fuzzy guitar solo is a bit iffy in places, could have done with another take of that. I like this one. Good song.


4 - Van Occupanther - 3:16

Really like this one. There's a slightly different feel to the vocal melody in the verses, which was needed. They were starting to sound a bit too similar. It's Tom Yorke fronting The band. How can I say I really like the flute without sniggering?


5 - Young Bride - 4:57

First impression, I don't like the drums. It’s a cool beat, but I don’t think it works for the song. Not mad about the shaky, quivering strings either. This feels almost abrasive compared to the previous tracks. It's more gritty sounding. Song is okay. As long as it’s all legal & above board.


6 - Branches - 5:03

I'm finding the moany vocals a bit annoying now. It’s a nice song though.
It’s hard for him, but he’s trying. He’s doing his best…..give him a break.


7 - In This Camp - 5:44

I like the slightly baroque, spooky atmosphere of this. Some nice fuzzy electric guitar parts.
This is the third song in a row where he's singing about marrying someone. I'm starting to think you could take the vocals from any of the songs and float them over the top of any other song on the album. They feel interchangeable. I like the song though. One of my favs on the album


8 - We Gathered in Spring - 3:33

The keyboard part is a new addition to the sound. I like it in the verses, but the actual keyboard solo isn’t great, the rhythm of it is annoying. Nice song though.


9 - It Covers the Hillsides - 3:14

A change of season jumping from autumn to summer. Nice upbeat piano chords. I like the slippery harmony guitar @ 1:19. Really like this song. Good vibes. He mentions the ocean so many times you can't help picturing the beach.


10 - Chasing After Deer - 2:42

This gave me a déjà vu. My first time listening to it but I kept thinking I’d heard it before.
The line “you’re always chasing after deer, oh my dear” made me laugh out loud. What a klunker.
Again its fine but it sounds like they could knock this stuff out in their sleep.


11 - You Never Arrived - 1:40
A short track to close the album. Nice song, more of the same really, acoustic guitars, lush harmonies, 70s LA drums.
 
It does sound like 70s wallpaper, yes.

I'm gonna manage 3 listens. Halfway there. Maybe I'll love it by the end.
My opinion did not change.

It's grand. Mood music basically.

Taps into the "my life is a film" mindset where music is made to please the listener and soundtrack their day rather than the "listen to what i have to say" mindset where music is there to make a point. I know which I prefer but they're both equally valid artistic expressions, right?
 
Right, I hate this. Anachronistic, professional music made by vibe merchants with nothing to say about anything, it's like listening to a travel brochure. Fleetwood Mac at least had the decency to be drug-addicted lunatics going off the deep end.

I'll give it a 4/10 because its very, very shiny and probably a good album for people into microphones and plugins.

On the plus side, this kind of bearded, mountain man thing is so hackneyed it can be made by AI these days.

I was thinking this morning that this is essentially what roscoe is about and by extension a lot of the album is essentially about this. The whole record is essentially about settling into spaces already made by people who wouldn't understand what the fuck we are at. They keep digging at undestanding these long dead people, while living in the place they built and contemplation how those people would see them.

RE: plugins etc the record is essentially from the start of the era of a few people in a house being able to have affordable studio tech - the lyrics are kindof leaning into that too. Do they have something to say? I'm not sure, I don't know, but they have inadvertently said everythign about music of that time.

I'm not saying you have to listen to it again or anything, Just what you said about it got me thinking about it that way.

Like this is 'marion' - Its essentially some kind of moby dick meets starbucks dual existence.

I saw Marion about to be swallowed up by the sea
Brings both minister and man to marry her
Soon you'll come home late and drunk
And throw a lantern that burns their house down
I tried to warn her but I stopped caring

In that cafe you felt everything attacking you
I tried my best, how the current pulled and buried you
And now you swim with a giant whale that curses you
I wish he'd go
 

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