Philadelphia and Michigan based songwriter Rosali Middleman released her newest album, No Medium, on May 7. It is a gorgeous 10-track folk-infused collection that anchors what it takes to hold out a little longer.
In January of 2019, Middleman retreated to a farmhouse in the fruited hills of South Carolina, experiencing supernatural glimpses and documenting those into her composition. She explores memories of loss, addiction, sexuality, self-sabotage and painting a picture of how to work “towards something greater without being destroyed by the weight of trauma,” as noted on her Bandcamp bio.
On her third album, Middleman indulges in country and classic rock sounds like those of legendary Stevie Nicks and of course, Fleetwood Mac. In a modern examination, No Medium combines lyrical structures of Big Thief, Buck Meek-like guitar riffs and the Pixies-grit of Great Grandpa. It’s a timepiece that synthesizes the approach to music through a multi-genre lens when we’ve heard it all before.
Traits that make Middleman stand out are sparse, but important in a world oversaturated with a general folk-alternative genre. Her legato-adjacent voice coats and combs through songs like a butter knife on a frosted cake.
Additionally, she grips onto a trend of repetition built through good balance, like baking a fruit tart; it’s a sweet and sour flavor that’s not overbearing, leveling a texture. In this case, a set of instruments settle amongst themselves. Most songs are layered (perhaps with an exception of the classic country slow-dance “All This Lighting”), and whisked forward. They almost taste nostalgic, like opening a goodie bag from a birthday party; there’re many items, some fend better than others, but what always exists is a surprise.
A bulk of the record never quite stays still, but perhaps it’s practice in what it’s like to push through. For instance, “Waited All Day” starts with two oscillating piano chords before slowly introducing drums, light lead guitar, shakers and angelic hums in the chorus. Though the highlight is Middleman’s vocals.
She sings “Put no thought to the afterlife / Don’t go asking, again / I dream about those spaces in my sleep / If I can hold on, and then.” It feels like the sedentary drain of playing a single, dragged-out poker game. But finally, a moment comes to play your cards right to win. It’s a type of cherished resilience that punctures through exhaustion.
The churns of lead guitar are subtle, like cutting green onions for garnish. It does the job though and adds another defining character in Middleman’s reimagination of the genre.
In “Bones,” triple vocal harmonies serve in tandem with twangy guitar and uneven cadences without hesitation. It’s definitely a familiar gut feeling of what determination sounds like, both in her instrumental and lyrical abilities and something I picked up on before I read her Bandcamp bio.
Rooted in the positivity of being able to rise from your past, No Medium is a worthwhile listen. It’s a lesson of learning how to propel forward with confidence, even if that means detailing your deepest insecurities.