Released: November 2007
A stately waltz that belies the dark shade of the lyrics; a troubled dalliance with a self-obsessed nihilist. Marling’s as subtly cryptic as ever. There are allusions to mental illness and the breakdown of religious faith, as well as drug addiction, but things are left deliciously open ended. There are subtle sonic touches, with the sparse piano chords, the brush of drums and the sole cello that add to the sense of unease. She crafts the musical equivalent of seeing the horror behind the white-picket fence and walking on. Leaving us the cliffhanger image of “birds are singing to came us down,” as the final chords float up into the ether, we’re left in doubt about the status of the couple and in awe of Marling’s talent. (PE)
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HMV Hammersmith Apollo, London, March 7th
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