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.