Co-produced by Josienne Clarke’s musical other half, Ben Walker, and Laura Marling knob-twiddler Lauren Deakin-Davies, following on from her Foreign Waters EP (which Walker also produced and which earned her a Folking Awards Rising Star nomination), Siren Serenade is the debut album from Cambridge-based singer-songwriter, poetry enthusiast and sometime theatre critic Emily Mae Winters.
Featuring musical contributions from, among others, Lukas Drinkwater on double bass, Hannah Sanders and Ben Savage as well as both producers, the twelve tracks highlight both her slightly vibrato vocals and the influences in her music, Gillian Welch, Kate Rusby, The Unthanks, Alison Krauss and Sarah Jarosz among them.
There’s a couple of folk chestnuts here, Jenny Lee Ridley’s flute introing a crowd swayalong version of John Connolly’s fisherman’s farewell shanty ‘Fiddler’s Green’ featuring Jack Pout on bodhran, a strummed guitar and fiddle providing the instrumental playout. The second nods to her love of poetry with a haunting drone setting of WB Yeats’ ‘Down By The Salley Gardens’.
The album opens with the ripplingly lovely self-penned reflective ballad ‘Blackberry Lane’ featuring Savage on dobro and nodding to the rootsy Americana in her musical DNA. Maya McCourt who played cello on the EP reprises duties on the gently circling acoustic guitar melody of Anchor, while Winters takes to the piano for ‘As If You Read My Mind’, a soaring vocal pop tinged ballad that, coloured by strings, draws on the classic 60s sound of Carole King but also suggests hints of Joan Baez.
If all these have been relatively sedate, ‘Hook, Line And Sinker’ ups the tempo for, with Savage again on dobro, a catchy slice of strummed rootsy pop, an equally live paced being set on the scurrying Irish-tinted, whistle backed story-song ‘The Ghost Of The Pirate Queen’ showing a more muscular side to her voice.
Mostly though, the mood is quietly bucolic, beautifully rendered on the lullaby-like ‘Miles To Go’ (which, like ‘Anchor’, appeared on the EP) and moody piano and cello ballad ‘The Star’, the former a nod to the poet Robert Frost, the latter to John Keats.
Although her vocals are mesmerising throughout, the remaining two numbers really see them come into the glory. ‘Reprise’, the album closer, is a piano accompanied almost chorale-like stentorian duet with Sanders. And, accompanied only by clicking fingers and hummed vocals, she sings a capella, the title track itself, for me the album stand out, which echoes the Appalachian revivalist feel of ‘Down To The River To Pray’ and ‘Didn’t Leave Nobody But The Baby’ from Oh Brother Where Art Thou. In Greek mythology, sirens lured sailors on to the rocks with their singing; Winters can wreck me any time.
Artist’s website: www.emilymaewinters.com
‘Blackberry Lane’ – the Oak Sessions video:
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