Midwife’s new LP returns to roots, and those rooted out
By Delaney S
Album artwork by Sam Rupsa
Photos by Alana Wool
Midwife, the project name of multi-instrumentalist Madeline Johnston, has carved a unique niche in the dream-pop and shoegaze genres with a sound that intertwines raw emotion with haunting melodies. With the release of “No Depression In Heaven,” Midwife marks a significant return to her roots, both musically and geographically. The album hints at a deeper exploration of hope and darkness, reflecting Johnston’s journey back to Colorado and the enduring impact of Denver’s DIY scene. We caught up with Midwife over a few emails, diving into the making of her new album, her collaborative process, and what it means to find a sense of home.
Pre-order Midwife’s newest album, “No Depression In Heaven” here: Red vinyl | Black vinyl | CD | Cassette
Congrats on your fourth studio album, “No Depression In Heaven”, coming out September 6 via The Flenser. What is one thing, different from previous releases, you’d like listeners to take away from it?
Thank you! I’m really proud of this album. Something I’d like listeners to take away is that there is hope. There is a light that accompanies the dark. I hope that my listeners will be reminded of some earlier incarnations of Midwife with this release. I tried to return to something more free and speak from my heart in an uninhibited way.
You’ve got some strong local collaborations on this record, including Chris Adolf and Michael Stein of American Culture. What’s your decision-making process when choosing collaborators?
We’ve been friends and circling the scene together for years. I worked with American Culture on a couple songs for their new album, “Hey Brother It’s Been A While,” and had an awesome time. The guys played guitars on “Rock N Roll Never Forgets,” creating a dynamic bed of feedback to cradle the piano and vocals.
As a solo project, collaboration is really important to me. It helps elevate my songs and bring the work to life in surprising ways I couldn’t ever foresee on my own. I choose my collaborators based on what makes sense, it could be as simple as “oh, I really love what these people are doing right now, the way they play this instrument would be perfect on this…” or sometimes it’s just who is in my orbit at the time, who is a part of my life right now, who is inspiring me…
Tell us about your relationship with The Carter Family’s music? Is “No Depression In Heaven” a direct reference to them and their song, or a convenient album name?
The title is borrowed from the 1936 song of the same name, popularized by The Carter Family. It speaks about the Great Depression and the mental state of depression interchangeably. I enjoy how this song recorded over 100 years ago can feel so relevant in any time period. The hymn is both painfully realistic, and hopeful. It’s about escape. There’s happiness to come after depression. Whether or not that means death, I don’t know – I think it’s possible to find happiness here.
I’ve gotta say, having watched Tread a few years ago, I instantly clocked the Killdozer reference. Do you remember when you first heard about the Marvin Heemeyer story? How did you make the connection to gentrification?
Yeah! It’s classic Colorado lore. I heard about Killdozer years ago, and the story has always been super interesting to me. Having lived in Colorado for nearly 17 years, I have seen the place I love disappear and be replaced by something different. I have seen my community struggle with attempting to have a voice in these decisions, and in turn be completely disregarded. This is exactly what happened to Marvin Heemeyer in Granby, although on a smaller scale – he was at odds with various people in power. He felt these people were interfering with his business, property, and liberty. I can understand what would drive a person to take action. Although controversial, Marvin Heemeyer ultimately put everything on the line for what he felt was right. Acting out his fantasy in the most extreme way, it’s a story at its core about rebelling against “the man.”
Would you be able to provide more specifics about your gentrification experience? What disappeared, what replaced it, and who felt disregarded?
We felt especially disregarded after the closure of Rhinoceropolis in 2016 (Following the Ghostship fire in Oakland). Everything the city was doing to “help” felt completely performative, and they didn’t actually want to work with us on our re-opening. Denver developed a program called the “Safe Occupancy Program” to assist DIY spaces get up to code and operate safely. We tried to have a voice and shape the conversation, but it felt so politically driven that we didn’t ever get the assistance that was promised to us.
I feel like Denver today has a completely different identity than it did when I moved there. It’s devastating to see these beautiful historic buildings torn down and replaced by cheap hi-rises. It feels like a personal attack on the identity of the city. I wish there was more emphasis on preserving Colorado’s history.
Speaking of Denver’s famed Rhinoceropolis, this is where you started Midwife. What specifically about that experience helped bring Midwife to life?
My whole experience there was tied into Midwife. I focused on how to record my own music and got really deep into that stuff with the support of my roommates. I was writing a lot, and made “Like Author, Like Daughter” during this time period. I played my first set as Midwife in the front room. Ultimately I think I just learned a lot about myself during these years, and it was incredibly special to me. Through the dark shit and the good times, the most important part of Rhinoceropolis was the community, we felt like a little freak tribe living in another world. Another world I had desperately wanted to live in all my life.
What do you miss the most about Rhinoceropolis?
What I miss the most is spending time with Colin Ward, who we lost in 2018. I miss him so much. Colin’s presence was energizing and inspiring, and he was such a good friend to me. He carried us all in ways I don’t think that he understood: Colin was the star we were so lucky to orbit around.
Currently in the Rhinoceropolis space is Squirm Gallery, who are reviving the famed DIY space with a new generation of artists. Any plans to collaborate with them?
I’m so thrilled about Squirm, and having the space back in the family. The energy feels rejuvenating and super positive in there. I will be doing another show with them in early October, keep an eye out!
I read that you were planning a move to Southern Colorado last year. Did that move happen? If so, any mixed feelings being back in Colorado?
Yes, I’m living in Trinidad now, and loving it here. I’m really happy to be back in CO.
Any other Denver musicians/bands on your radar?
It’s amazing to be a part of our scene and to witness all of our bands kicking ass. Denver on top. Convulse Records has been supporting an awesome roster. The Milk Blossoms have a new album coming out in October I really look forward to hearing. I also can’t wait for Blood Incantation’s new one (and to share more news on that soon…) Multidim Records continues to put out great work. It’s been so cool to see a new group of artists emerge over the past couple years. I’m super excited about everything Polly Urethane is up to, and she’ll be playing my album release show (Sunday Sept. 8th, Bluebird Theater). I’ve also been loving Water On The Thirsty Ground and the energy they’re bringing to Denver.
As a self-proclaimed “woman of the highway,” what does home mean to you?
I think that’s always been a big question in my personal narrative and in my art. Is home tied to a physical location, or is it something within yourself, a feeling? Maybe a bit of both. Home is a feeling of safety, someplace you can grow, learn, and fail. Being on the road has always felt like home to me when I didn’t feel grounded in the place where I live. I wonder if my feelings will change, now that I live somewhere more permanently. For now: Colorado is my home. And I’m happy to be home. 🙂
To buy tickets to Midwife’s “No Depression In Heaven” release show on September 8th at the Bluebird Theater, click here.
