Harp : Albion

It’s been 13 years since Midlake’s former singer/songwriter Tim Smith has released any new music. Midlake’s 2010 release The Courage of Others was a dark, somber record built on acoustic-driven tracks with touches of flute and overcast moods. Nothing as driving and 70s rock-driven as their previous effort – the excellent The Trials of Van Occupanther – or as eccentric and experimental as their debut Bamnan and Slivercork.

As Smith and the rest of Midlake worked on a follow-up nothing seemed to be working to Smith’s ears. While the rest of the band was satisfied with the results, Smith’s perfectionism or high standards wouldn’t let him settle. He decided the best thing was for him to step away from the band and let them continue on while he took a break from music.

Early on he’d decided on a name for a solo project, Harp, and slowly worked on a sound and vibe for the next ten years. Smith and his wife Kathi Zung built a world of sound, mood, and emotion from acoustic/electric guitars, subtle synth touches, and programmed drums. A major aesthetic shift happened when Smith discovered 80s post-punk bands like Cocteau Twins, Joy Division, The Smiths, and especially The Cure. The latter’s somber masterpiece Faith was a huge inspiration on the sound Tim Smith landed on.

13 years since his last work with Midlake we now have Albion, the debut from Tim and Kathi’s project Harp. It’s a lilting love letter to losing it all and finding meaning once again in the thing you love. It’s a masterclass in patience and putting equal importance on the journey and the destination.

We open up on the lilting instrumental “The Pleasant Grey”, a short track that brings you into the world of Harp. It truly captures the sound and feel of those early 80s Cure records, as well as Cocteau Twins. We then are greeted by “I Am The Seed” and Tim Smith’s vocals hit our ears. It’s a firm reminder why the man has such a following, as his voice is so undeniable and singular. Midlake were(and are) a great band, but for me it was Tim’s voice that kept me engaged. This is a welcome return.

Elsewhere “A Fountain” floats along on a cloud of optimism and wavering guitar notes. Collaborating with wife Kathi, Smith sounds as if he’s found the missing piece to the puzzle. She adds nuance and subtle sonic touches that elevate this project. There’s such beauty to songs like “Country Cathedral Drive”, “Seven Long Suns”, and “Throne of Amber”, while album closer “Herstmonceux” has an almost Beach House vibe. The magic of Van Occupather lives in this gorgeous track, while also hitting on Beck’s Sea Change. The cloudy, hazy synths give it a dream-like quality.

If you’re like me and have been waiting patiently for the past 13 years to hear what Tim Smith would do next, the wait is over. Harp’s Albion is everything you’d want and so much more. Smith and Zung have made new magic here with Albion. It’s melancholy, beguiling, and simply gorgeous.