Paul Smith - Margins
- Written by Paul Faller
2010 seems to be the year of the spin-off, having already seen solo albums from the likes of Kele Okereke, Brandon Flowers, Andy Burrows, Phil Selway, and Jónsi. Joining the list of artists with a solo itch to scratch is Maxïmo Park's frontman Paul Smith. It's inevitable that these artists will find their solo work compared to that of their band - particularly in the case of a frontman like Smith, whose vocal style and lyrics are arguably defining elements of Maxïmo Park's music. So, does Margins manage to differentiate itself?
At first, the answer isn't a clear yes or no. Smith's distinctive voice means it's impossible to escape that comparison regardless, but there are other elements of Maxïmo Park here too. The chorus of 'Strange Friction' has an air of 'Questing Not Coasting' about it, and the guitar riff on 'Dare Not Dive' doesn't sound like it would be out of place on A Certain Trigger. Indeed, I could see beefed up versions of 'North Atlantic Drift' and 'The Crush And The Shatter' sitting on a Maxïmo Park album - although the fact that we can make that comparison tells us that Smith's songwriting is still very strong here.
Elsewhere, however, Margins veers away from the Park's indie-pop sound far more sharply. Tracks like 'While You're In The Bath' and 'Pinball' are sparse acoustic numbers, while 'This Heat' is appropriately summery with its laid back, shimmering feel. In contrast, 'Alone, I Would Have Dropped' and 'I Wonder If' feel bleak and haunting, with minor-key, echoing guitar lines.
Given the generally stripped-back nature of the songs here, there is inevitably going to be more emphasis on the words - but fans of Smith's lyricism will be well served here. As with the songs he writes for Maxïmo Park, these lyrics definitely feel personal - but just how much? It's difficult to say - as ever, Smith conceals as much as he gives away. 'While You're In The Bath' sees him "resisting the temptation to look through the gap in the bathroom door/though I've seen it before," - but who exactly is the woman in question? An ex-girlfriend? A flatmate who he had a misguided one-night stand with? All he reveals by the end of the song is that "I wish I could love you/like I wanted to love you."
Lost love seems to be a recurring theme on Margins - 'I Drew You Sleeping' is a touching tale which sees a faded drawing of a former lover becoming "the only remnant of our love," while 'Pinball' has Smith looking to distract himself from the spectre of a previous relationship ("Pinball passes the time away/from the memories that we share"). It's not all mournful reminiscing though - 'Strange Friction' sees Smith in the throes of passion ("in a New York hotel room/your flesh collided with mine,") while 'Dare Not Dive' sees him caught between apprehension and desire ("I want to drown but I dare not dive").
Overall, Margins generally does enough to stand apart from Smith's work with Maxïmo Park - and yet, it's probably fans of that same band who will appreciate it most. Why? Because this is still unmistakably the voice of Paul Smith, both in terms of his writing and his vocal style. Margins, then - not a radical departure by any means, but a worthwhile one nonetheless.