When Echoes and Dust Metal Editor Sander helpfully directed me to the new Midwife song, I was instantly mesmerised by the hypnotic melancholia therein. Denver, Colorado’s Madeline Johnston considers her music “heaven metal” and on hearing her fourth studio album No Depression In Heaven, that’s an apt description. There’s not a hint of riff or distortion to be found across the seven tracks, but there’s a relatable heaviness to the atmospherics that go to create these beautiful pieces.
Intending to record with less rigid attention for perfection opening track ‘Rock N Roll Never Forgets’ begins with mournful droning synths like the theme to Twin Peaks. Madeline’s voice whispers like some heavenly body, swathed in effects and beamed from outer space. The sheer minimalism creates a bigger impact by leaving the listener focussed on the melody and the message. Guitars scrape creating an unease before a slide guitar takes the sadness to a new level of raw emotion.
In ‘Autoluminescent’ clean guitars loaded with reverb make for a warm backdrop to Madeline’s breathy vocals. Ghostly tones hover like fireflies adding a magical aura to the song. The slow elegantly played guitar is reminiscent of Alan Sparhawk’s style with Low, it has the same effect of rendering you an emotional wreck. The melody on ‘Droving’ raises to higher levels with more variation bringing an almost joyous feel. Albeit the synths that underpin the liquid guitars just aim for the heart with intent on breaking it.
Up until this point percussion is non-existent, but there’s a humble pitter patter of an electro kit cymbal providing the foundation to ‘Vanessa’. As Madeline tenderly sings “Vanessa, I know how it ends” you collapse under the weight of sadness. ‘Killdozer’ features the sweetest and most heart wrenching melody line as Madeline lets some rare theatrics enter the fray. It’s a gorgeous delicate song that soothes and caresses despite the connotations of the title.
Madeline harmonises to stunning effect on the astonishing treatment of Alice Deejay’s 90s pop hit ‘Better Off Alone’. The cheery melody asks, “Do you think you’re better off alone?” over lovingly played string bended guitar as the original song is turned upside down and inside out. The opening notes to the closing title track ‘No Depression In Heaven’ let you know that this song is going to be a difficult listen. Backtracked guitars add a warped hue to the song which appears to have distinctly dark overtones but is paradoxically warm and comforting.
Despite the simplicity of the music on this album, there’s considerable depth on behalf of the artist to go into the creation of such melancholia. Some people find solace in sad music that actually makes them feel happier. I’m one of those people. The weight of every note played on the album leans heavily, yet it’s a light and airy floating on dusty guitars and shimmering effects. Madeline’s voice, heavily treated with effects can appear monotone and detached, but underneath that surface, you feel the emotion that resonates. It requires a certain mood to listen to Midwife, and afterwards that mood may be considerably altered. This is another magical album from an artist who completely understands the power of minimalism.
