by: Thomas D. Mooney
“There’s a lot of ways to be lonely in West Texas.”–Roy Orbison
Everything ends up being romanticized. Often, West Texas is blown up to epic proportions. The land of a blazing sun and relentless wind. There’s a harshness to the weathered people. Everyone’s calloused, yet earnest. It’s as though a sepia lens has been thrown on along with a Ennio Morricone score.
And there’s certainly some truth to that. That’s one way to be lonely–that almost-fantasy world, it’s well represented. It’s everyday darkness that really kills hopes and dreams.
On No Man’s Land, the fourth album from Austin Indie-Folk outfit Madisons, vocalist Dominic Solis and company expand their world past the borders of West Texas more than ever before, but they’re still peeling the layers off the mythic West Texas, revealing a real-world darkness that’s bleak and full of disaccord.
Along with Solis, fellow vocalist Cass Brostad (who joined the band between their third album and No Man’s Land), explore a kind of self-deprecation that’s hinges on honesty in the most brutal form. The stories they’re telling are the kind you retell and relive in the moments before you fall asleep every night. They’re the kind that keep you up as you toss and turn. But where Solis and Brostad may have dwelled too long in the past as younger writers, they’ve found a way to work past it here on No Man’s Land.
Sonically, the band’s sound too has matured and aged with rich melodies and harmonies. Still, the band’s passionate, raw energy remains as captivating as ever. It’s still the driving force for the seven-piece.
On “Second Chance,” Solis starts off with, “I’m usually in good mood, oh and son, you would be too if you were as resigned to being born to lose–cause we’re all born to lose.” It’s very much in-line with his desgraciados, born-loser outlook that he’s had on previous Madisons efforts. But he ends with “I don’t want a second chance. I want to be forgiven and walk away,”–a sentiment seldom heard previously.
On “No Man’s Land,” Brostad echoes something similar with the sobering and weighty, “Sometimes you gotta die a little so you can survive.”
Still, there’s no better example of this than the sprawling narrative of “Basketball Practice.” At nearly 10-minutes long and more of a monologue than a song, it’s the band’s most experimental and artistic challenge to date. And while it may seem strange as an opener, it sets the table for the album.
The range of emotions Solis goes through on “Basketball Practice” is as wide-ranging as it is long. It’s raw, yet refined. And at times, it’s a difficult listen, but not because it’s cumbersome, rambling, or dull. But because it can leave you feeling dejected, dispirited, and blue. It’s Terry Allen meets Tennessee Williams.
So much of No Man’s Land is just that–fighting past the conflict, past indiscretions, slights, and well, the motherfuckers. Forgiveness may not be as cool as revenge or holding on to those grudges. But it’s what’s makes No Man’s Land their finest album to date. There’s some resolution.
No Man’s Land is officially out Friday, July 07. Exclusively stream the album in its entirety below. Order it here.