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‘Stories for Emily’ - exploring the near and far corners of British folk (February 07, 2010) What’s a year more or less? Well it’s enough time for Philip Butler to follow up his debut album and make considerable progress in the process. The new offering ‘Stories for Emily’ clearly comes from the same stable – similar recording style, same idiosyncratic vocals, same rich voice with a tendency to wander and still the same unique touch to folk. This time there is far more continuity between the instruments and the odd dissonance within the multi-layered songs only adds to the package. Once again the precise lyrics are a cornerstone of his work.
As usual Philip handles vocals, plus guitar, mandolin, bass, reed organ and percussion; this time with the bonus of more from Natasha Tranter on accordion and vocals. He has also assembled the usual suspects to add their talents - Tom Collison (double bass, harpsichord, melodica, percussion) John-Joe Murry (fiddle) Holley Jeffery (vocals) with Andy Keith-Lucas and Craigus Barry guesting on track five. Much as I hate ‘sounds like’ inserts that appear in reviews (often it’s just lazy reviewing) I keep hearing echoes of Dr Strangely Strange in this album. And that’s not ‘sounds like’ just ‘echoes of’. And that’s meant as a serious compliment. This album grows more powerful each time you listen, and it’s worth it – so take some time to listen to ‘Stories for Emily’.
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‘Stories
for Emily’ is an album that explores both the near and far corners of British
folk music forging new boundaries and kicking up ancient dust as it does. The
songs slide from old to new with a deft and delicate touch. The gems include: ‘Farewell’
- from the first notes you’re hooked and want to hear more; especially that
haunting piano accordion. ‘Emily, Where Have You Gone?’ - a narrative song that
perfectly suits Philip’s delivery. ‘A Gift from Dr. Forrest is a delightful
musical interlude. ‘Jack the Mommet’ and ‘The Coaching House’ are a pair of
eerie tales filled with dire warnings and ghostly murmurings. And of course ‘No
White Rabbit’ which conjures up yet one more ethereal outing for Philip’s vocal
style.