HH_Old Hearts Reborn_ThumbnailThis collaboration has its roots in the west coast of Ireland, with Tim V. Smith and Carol Anne McGowan joining forces under the moniker of Hidden Highways. ‘Old Hearts Reborn’ seems perfectly suited to the drawing in of the evenings as the seasons change, a warm Americana-inflected collection that brings the pace down to a slow waltz as it ambles through its themes.

Empire Of Old introduces the enveloping dual vocals, seemingly backed by an angelic choir. McGowan’s voice at first seems disconnected from Smith, as if coming through a radio or telephone, yet they’re as close as can be. The plucked instruments of The Western Line introduce themselves in the almost mechanical manner of a music box being wound as folk and gospel meet, with a leisurely guitar solo that’s in no rush to reach any particular destination.

The World Began With A Waltz’s lovely downward vocal inflection matches the sentiment – “…and that’s how it’s going to end/one good turn and we’re done/we’ll burn our hearts out in the sun”. A wispy pedal steel takes over, before Smith’s partner joins the dance with an equally airy vocal to float behind his. McGowan’s is the more versatile of the two voices, whether moving from a husky whisper up into that sweet, honeyed tone on Won’t Be Goin’ Home  or the hushed evocations of Wild Woe. The latter calls to mind the sway of Albatross, a lament of sorts anchored around the title repetition, with McGowan’s voice marooned in a sea of strings.

Townes Van Zandt’s The Velvet Voices is certainly less busy than the original and the better for it, with the tremulous, strummed guitar providing a chimed accompaniment to the duo’s voices. The album progresses at a languorous pace, but the malaise of Old Hearts Reborn suddenly dissipates as it comes alive in the solo, twanging here and there within the waltzing chord framework. If Time To Go Back To The Sea exudes an air of finality – “I’ve run out of songs to sing” – then the final track compounds that notion. Veiled, wraith-like vocals half whisper a regretful premonition on Next Time Round, as the album swoons, chimes and ascends to a close.

The album’s crowning achievement is the sense of harmony that exists between the pair; there’s an equal share in the singing, with no clear ‘front’ voice but an effortless intermingling of tones. The choir-effected backing vocals are ubiquitous, however, making songs indistinguishable in a certain sense. It’s a formulaic sonic addition that threatens to overwhelm the songwriting, considering the guitar work is so economical and restrained and the instrumental embellishments so thoughtful. This aside, ‘Old Hearts Reborn’ is a mostly tender trip, and a fine collaborative effort.