There’s an incredible warmth to Midlake’s second album, The Trials of Van Occupanther. Instead of the indie-styled synth-driven sound of their debut, this album relies on the gentle interplay between acoustic sounds, as pianos and warm rhythms collide like waves upon the shore.

The comparison to Fleetwood Mac has been bandied about, and it comes through loud and clear on the likes of album opener “Roscoe”, as well as “Head Home”. But that’s part of the most striking thing about these songs – they’re so cleverly crafted that they neatly sidestep derivation and instead give Midlake a very individual and singular sound. There’s the pushing and pulsing rock of “In this Camp”, but also softer and more hazy material.

There’s a haunted nature to the sound of Tim Smith’s vocals, as he tells delicate tales of characters and their lives. The violin-empowered “Young Brides” is both elegant and commanding, while “Chasing After Deer” is strikes in a similar way – it tells a story, but there’s an emotional depth to it that elevates it beyond merely rambling. That in itself is part of the charm of Midlake’s The Trials of Van Occupanther, with the album resonating with a core of feeling.

The loping bass of “Van Occupanther” is like much of the record – it’s gentle, but it gives a strong underpinning base from which the song can bloom, with flute, bassoon and French horn augmenting the sound. Where their debut was cluttered with keyboard sounds, only “We Gathered in Spring” features that familiar squelching sound, and it’s used with care. The Trials of Van Occupanther is stripped back and more elegiac than anything Midlake have done before, resulting in a much more powerful and resonating piece as a result.