Saturday, November 22, 2025 at 8:00 PM
Lodge Room, Los Angeles
Midlake For over two decades, Midlake has quietly built a world of their own—rooted in the college-town charm of Denton, Texas, but expansive in sound and spirit. With their sixth studio album, A Bridge To Far, the band returns with a record that feels both deeply personal and universally resonant. It's an album about hope—not in some abstract sense, but as a human necessity. “Hope is a need,” says frontman Eric Pulido. “To look beyond, above what is. We can all relate on many varying levels.” Recorded at The Echo Lab in Denton and produced by Sam Evian, the sessions for A Bridge To Far were instinctive and unforced. “Everything felt effortless and authentic,” Pulido says. “We didn’t overthink things.” That ease translated into a sound both atmospheric and grounded—cinematic without excess, deeply felt without sentimentality. Lead single “The Ghouls,” written during a period of uncertainty about the band’s future, became a spark that encouraged the group to keep going. “It helped us build songs together again—and hopefully encourages others to want to hear the full collection.” The album is rich with recurring themes of persistence, humility, and the quiet beauty in life’s overlooked details. Songs like “The Calling” explore surrendering to one’s true path, while “Days Gone By” juxtaposes personal struggle with the eternal rhythm of the natural world—sun, moon, sky—offering perspective and peace. “Eyes Full of Animal” channels a more visceral energy, tracing a moment of emotional misalignment, while “Guardians” unfolds like a mantra, honoring those who protect what is good and pure. “Guardians” also features a stirring verse exchange between Pulido and Grammy-nominated singer-songwriter Madison Cunningham, whose contribution adds emotional weight and textural contrast. Additional guest vocals from Hannah Cohen and Meg Lui shimmer throughout the album, lending added warmth and nuance. Pulido names “Valley of Roseless Thorns” as a particularly emotional touchstone, reflecting the band's own truths in veiled poetic form. “There’s a tinge of reality in that one,” he admits. Musically, the band embraced spontaneity. Jesse Chandler and Sam Evian’s dueling saxophones on “The Calling” brought an unexpected burst of color—“like we went to Chicago World for a minute,” Pulido jokes. “Days Gone By” shifted notably from its original demo, trading its driving tempo for a more meditative, trance-like feel that sets the album’s tone from the outset. And while Midlake’s past records have often carried clear stylistic reference points, this one feels more distilled. “The reference and inspiration is Midlake,” Pulido says. “This album is less about sounding like someone else and more about sounding like us.” Even after all these years, the motivation remains rooted in connection. “We love one another,” says Pulido. “It’s still a chore to carve out time with all that’s going on in our lives, but when we’re able, it’s a cherished experience.” A Bridge To Far captures that spirit—a quiet triumph born from trust, time, and the belief that something just out of reach is still worth pursuing. House Band House Band is making it up as they go along. Literally. Live and in the studio, all of their music is improvised. The project itself is evolving since its inception only a year ago. Comprised of LA session musicians who have played on some of your favorite albums and who you’ve probably seen live (Cat Power, Perfume Genius, Daniel Johnston, Fruit Bats and Jonathan Wilson to name a few), their mission is that there is no mission. They record when the opportunity presents itself, and for the moment only play shows when the time is right. Released in early 2023, their EP – 1 – is the sound of the band playing together for the very first time. Track 1 – “Charlie” – is literally the first notes the band had ever played. Their debut album – Aventurine – was just released in January 2024 and has already drawn attention from publications like MOJO and Aquarium Drunkard, the latter saying – “Since landing in my inbox late last year, it’s been on steady repeat, especially the jaunty “Spinners,” which drapes wobbly synths and punch drunk guitars over a steady funk rhythm and the dubbed-out “Miracle Man,” which couples a driving percussive feel with a slippery bass groove and swelling atmosphere. Even when the band gets dark – like on the spooky “Soft Light” and the droning “Varda” – there’s an openness and gentle propulsion that guides the proceedings.”