30 of 32 people found the following review helpful
Its official - we can now fully celebrate the fact that within our midst is the supreme modern songwriter with her remarkably short but productive career ranking her alongside the greats. The journey of Laura Marling from the sensitive bedsit balladeer of "Alas I cannot swim" to the epic solo sweep of this new album "Once I was an eagle" has never faltered or been side tracked. Her intensity of purpose has been such that her albums now punctuate time as landmarks and it is a damn painful wait until the next one.
Largely dispensing with her band, Marling has looked inwards and shines an often-dark light on her personal and romantic situation. The word "confessional" has always been a label applied to her, but there is something altogether more penetrating and often hurtful at play in this record. Producer Ethan Johns has again let her songs expand and breath. This is exemplified in the first seven songs where Marling and Johns let them flow and, in essence, they morph one into the other in an almost seamless sequence. In the hands of a lesser songwriter, this could be a stifling bore but Marling performs small miracles in these compositions. One unifying factor is a link through a frenetic guitar motif which harks back to the Indian themes of the Dharohar Project, but despite this these songs stand in their own right as a powerful statement where Marling snarls, emotes and accuses ex-lovers of the ultimate romantic failing - sheer disappointment. In the stunning title track, she ruefully reflects "I will not be a victim of romance/I will not be a victim of circumstance/Chance or circumstance or romance/Or any man who could get his dirty little hands on me". Slightly later on the uber powerful "Breathe" a song packed with menace she confesses "How cruel I am to you/How cruel the things I do/How cruel you are to me /How cruel time can be" and you reflect that getting on the wrong side of Marling is not a wise place to be. The pressure does not let up on "Master hunter" where she echoes Dylan and proclaims "Well if you want a woman who can call your name It ain't me babe/No, no, no, it ain't me babe".
The pressure cooker atmosphere does let up following the album's eighth track interlude. The rolling bluesy acoustics of "Undine" are more in tune with the type of approach employed on "I speak because I can" while the sad reflective acoustics of "When can I go" with a hint of the organ is a Marling trademark song and an obvious single. At this early stage "Pay for me" with its sweet melody sounds like a standout while "When you were happy" is almost spoken and the wordplay is dazzling. The album finishes with "Little Bird" where Marling's confidence absolutely oozes through and the song almost demands the repeat button. Finally the sixteenth song on this album that extends over an hour is "Saved these words" a slow builder that leads up to almost a Led Zep style neo-folk barrage while Marling almost lays down a challenge when she exhorts a new lover to recognise that "Life's is not easy/and you're not master, son/when you're ready/into my arms come".
She has of late decamped to the West Coast and there are many American influences here. She has admitted in a recent interview that "I don't know whether I've sort of fallen out of love with English charm, the reservedness of it." Having reviewed Marling's previous albums the easy thing to do was to search for peers and Joni Mitchell was the most obvious of these. But on this new album Marling is her own woman. What is incredible however is that Laura Marling remains in her early twenties and the sheer scale of her songwriting maturity and achievement. It begs the question how can she keep raising the bar on each album and how much better can she get?
4 of 4 people found the following review helpful
This is the fourth album from the English songstress de jour Laura Marling. I think it is probably one of her best, it is certainly her most consistent. Marling has written what sounds like a very personal and meaningful set of songs, her writing has certainly matured and flowered over the last couple of releases. Teamed with Ethan Johns, the album is filled with her distinctive powerful voice leading us through tales of love, betrayal, loss and other griefs. There is an undercurrent of anger in her voice, as well as heartbreak. Just behind her voice is a deceptively simple sounding backing, that perfectly supports her voice where needed, erupting into outspoken bridges bursting with energy that breaks up the record and prevents it becoming one note dreary. The tone is firmly rooted in some of our folk traditions, but Marling is a bit of a musical magpie, and there are stretches that are influenced by Led Zeppelin and Pink Floyd (indeed, the bass line from `I was an Eagle' seems to have been lifted wholesale from Pink Floyd's `Fearless' on the `Meddle' album). Stand out tracks are the energetic `Master Hunter', with Marling's superb fast singing, and `I was an Eagle', with a great lyric (and bass line).
A great album, from a great singer/songwriter. I feel that as well as her best lyrics to date, her teaming with Ethan Johns has produced a sound that totally suits her, and is quite spectacular. 5 stars for this delight of an album.
30 of 34 people found the following review helpful
on 27 May 2013
Whether directed at Mr Mumford, other suitors unknown or maybe even in some cases herself, the songs in this collection deal with love, betrayal, hope, anger and, a word tellingly used more than once here, naivety. There have been some great break-up albums over the years but this may just be one of the greatest - it will take time to assimilate and compare it properly it to the likes of Blood on the Tracks, Nether Lands and Rumours, but what is clear already is that this is a work of astonishing quality from one so young. The excellence of the lyrics are especially worthy of note in this context - from the glorious early triptych of I Was An Eagle, You Know and Breathe (tracks 2, 3 and 4) to the final track Saved These Words, the lyrical maturity exhibited here is truly extraordinary. I wanted immediately to check what albums Joni Mitchell had produced by the same age - and the answer is none! The comparisons to Mitchell will be inevitable not only lyrically but also in terms of her singing style and her music (which is reminiscent of Hejira in places) but Laura is clearly her own person and treading her own path to mega-stardom which will come sooner rather than later on this evidence. An outstanding achievement.
6 of 7 people found the following review helpful
on 7 June 2013
I cannot stop playing this beautiful album. Laura Marling has created a work of art which stands comparison with the great singer/songwriter albums. This album deserves your full attention for its one hour duration. There are some breath-taking songs - such as Little Love Caster and Little Bird. The standard starts high, with a moody integrated four song cycle and then builds in quality throughout. The second half (after an intermission) is a total joy. Laura Marling's voice and songs are unique but you can hear the influence of the great writers of the 70's, including Joni, Dylan, Carole King and Laura Nyro. The song writing here is comparable with their best work - great heartbreak albums like Blood on the Tracks and Blue. Must be album of the year - I can't see it being topped in 2013.
I was a big fan of Laura Marling's début album, "Alas I Cannot Swim", but hadn't quite swallowed the hype that followed the subsequent couple of releases and neither matched up to her early potential, to my ears. I hadn't actually intended to buy any more of Laura's albums, but fortunately, I was won over by the sheer weight of the positive reviews and the constant appearances of the album in end-of-year lists. Although I remained sceptical about how good it could possibly be, my scepticism slowly dissolved as I listened to the album for the first time. This is a truly classic folk album, a fully realised, mature collection of songs that, had Joni Mitchell released it, would be considered one of her greatest achievements. Although there are sixteen tracks on "Once I Was An Eagle", there are a couple of suites, which see several consecutive songs being written around the same musical and lyrical themes, my favourite of which being the powerful Dylan-esque "Master Hunter" sequence (there is even a lyrical nod to Bob, just to confirm what we were all thinking). The Indian flavour of the "I Was An Eagle" sequence is spellbinding and the dynamics ebb and flow wonderfully, matching the intensity of the lyrics skilfully. In fact, it is a beautifully recorded album overall and Ethan Johns' production is one of its many strengths.
This is a deeply artistic piece of work, it radiates musical intelligence, and takes quite a few listening sessions to really get to know and appreciate. It is quite clear, early on, that this is an album that it would be quite easy to dislike unless this is (one of) your favoured genre(s) of music and would probably more suit connoisseurs of folk rather than somebody who simply enjoys more popular singer-songwriters. Having said that, this album could also be a gateway for people to discover a taste for and a deeper love for folk artists they hadn't considered before. There are occasional bursts of powerful rhythms on "Once I Was An Eagle" that underpin the sharp thoughts and observations which point towards weariness and cynicism, sometimes towards others, often about herself. This is an album of two halves and, after the interlude, the individual songs flow perfectly. One of my favourite tracks, "Where Can I Go", is a beautifully charming piece augmented by a gently trilling organ that sounds as if it has always been in existence; I cannot imagine that anybody sceptical about this album could fail to be won over by that song and performance alone. The best is almost saved for last with "Saved These Words", which revisits the earlier musical theme from the opening suite, only with a more uplifting and positive feel; it's a triumphant end to a brilliantly accomplished album and surely Marling's greatest achievement to date.
8 of 10 people found the following review helpful
on 27 July 2013
This is a solid effort; the lyrics are very good and I cannot fault the musicianship. Where this album falls down compared to Marling's previous releases is that most of the songs are of the quiet-musing type and, as such, there are very few points where the listener would be made to look up and take notice. Personally, I think her second album is the best she's released so far in terms of production and variety of material.
However, the first four songs are pleasant to listen to, especially with the segue from one to another; Master Hunter also provides a rare (and welcome) change in dynamic.
Moving away from the music, where this release really falls down is the packaging. I have no problem with the digipack format (it takes up less space on the shelf, after all), but with this album the disk and the lyric sheet are just shoved into a cardboard sleeve with nothing more substantial to protect the CD - personally I'd expect a bit more for the price.
on 16 June 2013
It seems unfair that one so young can bring out albums of such startling maturity... This album is superb if you like your music nuanced, richly variegated, and ready for repeated mining, because Marling's songs are rich seams that keep giving. Her voice swings between breathlessly sweet and dangerously enraged - don't cross this woman in love, and what a role model for empowerment: required listening for all daughters.
I'm left wondering where next, and wanting to reassure Marling (a reassurance she certainly has no need of) that she can take her time. She is already the most exciting song writer of her generation and we should be celebrating her! Is that enough for now? Buy this album, or be forever outside the party, looking in through misted windows.
1 of 1 people found the following review helpful
on 8 October 2013
I haven't fallen in love with this album as much as I did with Alas I can not swim and I speak because I can. In my opinion it's about on par with a creature I don't know. Still adore Laura Marling though, and often her albums are proper growers.
1 of 1 people found the following review helpful
on 30 December 2014
I guess you will only purchase this item if you are familiar with Laura's work, in which case you don't need me to tell you how good it is. The product is first class, the vinyl is heavy and flat, plays well sounds great
5 of 6 people found the following review helpful
on 13 June 2013
I really enjoyed previous albums, but for me this lacked any individual character and was a really dreary listen...and hasn't been a grower at all. I'll stick to her earlier albums!