Midlake - The Trials of Van Occupanther (2006) (1 Viewer)

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.
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'm thinking and thinking about this, because as much as I love to have a moan, i'm not 100% sure I even agree with myself.

I think this album kind of is to that kind of 70s americana folk music as Uptown Funk is to the Minneapolis Sound, it's this very finished version of something that was an act of exploration at the time. It sounds great and all (and i'm probably more amenable to Uptown Funk because I get the references, so to speak) but it's really quite hollow to my ears and it has nowhere to go except shinier and shinier versions of itself. I suppose I haven't delved deeply into the lyrics because I refuse to do that unless I already like the music. There's nothing to explore here for me, it's just a product.

I dunno. I like your post. I'm probably completely wrong. Did this album influence your New Country record? I get way more from that than from this.
 
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Got to the end of my third listen today and I could swear the album felt about twice as long, it was unending. "Roscoe" and "In This Camp" are all right, but it's all so very forgettable and boring. Even as I type this I'm struggling to remember what those two songs sounded like beyond a glossy faux Laurel Canyon sheen.
 
I'm thinking and thinking about this, because as much as I love to have a moan, i'm not 100% sure I even agree with myself.

I think this album kind of is to that kind of 70s americana folk music as Uptown Funk is to the Minneapolis Sound, it's this very finished version of something that was an act of exploration at the time. It sounds great and all (and i'm probably more amenable to Uptown Funk because I get the references, so to speak) but it's really quite hollow to my ears and it has nowhere to go except shinier and shinier versions of itself. I suppose I haven't delved deeply into the lyrics because I refuse to do that unless I already like the music. There's nothing to explore here for me, it's just a product.

I dunno. I like your post. I'm probably completely wrong. Did this album influence your New Country record? I get way more from that than from this.

Naw I hadn't heard this at that time, I appreciate that someone still remembers that record :P - I don't disagree with you on the shiny thing. I don't know - I enjoyed it for a week or two there and now i'm all nils frahm and GET OUT OF MY OFFICE. I hated uptown funk in a lot of ways, but then i really liked daffodils and return to it a fair bit. You don't need to go too far into the lyrics, its the same three songs in rotation.

I revisited the sophtware slump at some point in the last week or two and decided that a lot of that record is fucking awful.
 
The only Midlake I know is Joshua Golding's cover of Van Occupanther. I find it so moving and beautiful. I had a quick spin of Midlake and reckon I could like some of the songs but Joshua's version hit me like a tonne of bricks when I first heard it a few years back.

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The only Midlake I know is Joshua Golding's cover of Van Occupanther. I find it so moving and beautiful. I had a quick spin of Midlake and reckon I could like some of the songs but Joshua's version hit me like a tonne of bricks when I first heard it a few years back.

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