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A silhouetted figure stares eyelessly on the cover of Luminol, Madeline Johnston’s third album as Midwife. It’s an old photograph of the artist’s mother in front of a body of water, her unique features erased, so that she becomes a shadow in the landscape, indiscernible from her daughter in the present day. This is the album’s first act of dissolution: the blending of mother and daughter, landscape and body. Johnston has described her musical output, which includes the somber experimental pop of Midwife and the ambient drone project Sister Grotto, as “heaven metal,” a categorization that taps into her ability to wrench ecstasy from devastation, to make romance out of abject pain, and to transmute specific feelings into an ineffable longing. In 2015, while residing at Denver’s artist- and DIY-led venue Rhinoceropolis, she began channelling these ideas into Midwife, whose most obvious comparison can be found in Liz Harris’ work as Grouper. Now

New mexicoUnited statesAndrew wyethZachary cole smithColin caulfieldDan barrettMadeline johnstonSister grottoLiz harriNice lifeபுதியது மெக்ஸிகோஒன்றுபட்டது மாநிலங்களில்ஆண்ட்ரூ வையெத்சக்கரி கோல் ஸ்மித்கொலின் கல்பீல்ட்டான் பாரெட்