Delivering in a dual system of both synthetic and authentic pieces of a working puzzle, Midas Fall creates some elements of carving sound. In a distinct use of the vocal aspect coming from Elizabeth Heaton, there is a level of personal touch to her sound. The way that she can effortlessly ride her voice over the electronic mix of synthetic percussion and rattling hi-hats from Olafur Arnalds that never truly becomes anything assaulting, but are instead daunting. It is a pure mix showcased on Evaporate that truly moves in with the opening track, “Bruise Pusher”.
Where harsh noise and walls of sound are the method behind other bands, Midas Fall instead takes the duo into a more palatable and gentle area of building and falling that simultaneously is able to invite the listener into this atmospheric wonderland.
In a similar fashion however, Midas fall also shows their cards pretty quickly and does not leave any new tricks to be discovered through each listen. They are consistent, which makes Evaporate still feel exciting through the first few rounds. Eventually this causes the tracks to start to bleed together and ultimately feel as one single continuous progressive piece that shows some overlap on individual tracks. Midas fall takes the consistency and does it incredibly well however as the instrumentation and production is tight, but surrounded by a vacuum of air that makes everything have some space behind it.
Delivered well on “Dust And Bone”, there is this glory behind the sound that coincides within the ugliness of the suddenly writhing strings. As the low-tuned percussion starts to boom and bang along, there is something special here. It is a track that sticks out for the ability to shift momentum from the gentle upbringing into the fire of sound and emotion.
As the listener begins to adapt to the sound and really get a grasp on exactly what Midas Fall are doing with Evaporate, they suddenly drop off into the inevitable silence that overtakes the listener in an undertow of wonder.