Anyone who tuned in to BBC's Folk Britannia season will have seen the first spark of artistic chemistry that led to the creation of this folksy, dreamy, album of sparse acoustics and intertwined harmonies. Past Mercury prize nominee singer-songwriter Kathryn Williams and guitarist/vocalist Neill MacColl were paired up to perform 'The First Time Ever I Saw Your Face', the classic written by Neill's father, Ewan MacColl, for his mother, Peggy Seeger. That also makes him half-brother to the late Kirsty, and he has played in the bands of Eddi Reader (big fan!), David Gray, Nanci Griffith, Steve Earle and even David Gilmour. A free-flowingly productive writing session over a few days produced a clutch of songs in record time. When it came to recording, six days playing live saw thirteen of them captured in a natural and infectious process befitting of, and indeed contributing to, the albums atmosphere. The pivotal and titular pair of protagonists were supported by Simon Edwards on bass and Martyn Barker covered percussion duties. Those additional two were so in tune with the session that several tracks were laid down practically unrehearsed.It has to be said that it is a beautiful sounding album, pristine and glowing - silky but not syrupy. It does spring up as freshly created. There is skill and hard work, but in the style of a master craftsman where every cut is deliberate, vital, and apparently effortless. There is no labouring in rounds of tedium. Mixing by Phill Brown (famous for work on 'Stairway To Heaven', albums by the Stones, John Martyn, Roxy Music and Brian Eno, amongst others) is masterful as you might expect. Songs like '6am Corner', 'Frame', 'Shoulders', and ''Holes In Your Life' shimmer and tingle gently. 'Come With Me' has a touch of Cockahoop Cerys Matthews in its dry delivery and tales of hazy late night/early morning decision making. It ties with the simple but heartfelt 'Weather Forever' and also 'Armchair' as favourite tracks. The latter actually recalls Kirsty MacColl, but not as brash, in its earthy lyrics and self harmonising chorus. 'Innocent When You Dream', a Tom Waits song, initially grates when MacColl is more upfront in the vocals for once; he is better harmonising to Williams’ whispery cooing. The only deliberately discordant notes are struck on 'Grey Goes' where a palate of colours are the vehicle to map out depressive introspection. The remainder is pleasant but forgettable.There is warm intimacy. There is a sense of time and place in its creation, of the two artists blooming together. This album has been picking up high praise already with early reviews. So my spanner in the works? Williams has said: ‘In years to come, I’ll look back at the records I’ve made and not have any regrets about a man in a suit making me fit in with fashion. They’re small, sketchy pieces. I’m not trying to make Big Art.’ That's an attitude I can applaud, but it also might contribute to what the album lacks for me. Whilst it has the vitality of a snug session at the local folk club (which I would no doubt enjoy), it also deftly glides over the skin without drawing emotional blood. I'm a simple soul and don't need high art. I can appreciate subtlety and delicacy of expression in music, but this is not an experience I am drawn into: largely it can remain background music. I appreciate it more than I am actually hooked by it. If you like acoustic music you will like this. The question is more whether you will love it. 64%Links Kathryn Williams and Neill Maccoll [myspace]