I went down to meet Ethan at Real World Studios, where he was working at the time. He turned down the first record, but I tried again with the second one – he seemed to be more impressed with the songwriting. The difference between being 16 and being 19 is quite a shift, isn’t it? Ethan was very intimidating, but I quickly realised it was nothing but a type of shyness. I don’t really think of this as part of my catalogue.Ī leap forward, with Marling inspired by British folk and The Odyssey, and working with producer Ethan Johns And the production was very much of the time I guess, that ‘new folk’ world – glockenspiels and banjos and whatever – which is good, that’s what it was supposed to be then. I haven’t listened to this for a long while, I very rarely play any of those songs live, so it’s a bit of a distant memory to me now. There was a batch of songs before that that were on an EP, “London Town” – I didn’t like them very much by the time I got to making this. These were all my first songs, written from the age of 16-17. So I guess I was slightly more familiar with the studio than the average 17-year-old, but still it was my first proper session. ![]() My dad ran a recording studio which shut down when I was quite small, but I remember growing up around all of that outboard gear at home. We laid down the bass, drums, guitar and vocal all at once, and then we did overdubs – this is the same for all albums I’ve done, pretty much. We had four weeks at Eastcote Studios, two weeks doing my record and then a further two weeks back-to-back doing the Noah & The Whale record. Marling’s debut, produced by Noah & The Whale’s Charlie Fink “As much as I love Blake Mills’ production on Semper Femina – and I would take that any day – really it’s about whether I’m a good songwriter. ![]() “I’m not trying to reinvent the wheel,” she says. When I’m at home I play the guitar but I don’t really feel the need to write – I mean, I’m at home, I’ve got nothing to miss.”įor now, though, there’s her extensive back catalogue to enjoy, and it’s this body of work that the songwriter is taking us through here from her first studio experiences to orchestral arrangements for three bass guitars, via her own personal highpoint, 2013’s Once I Was An Eagle: “It’s just one of those things, maybe a once-in-a-lifetime thing.”Īlong the way, Marling ponders her time in Los Angeles, being one half of Lump and her mission as a solo artist today. ![]() “Obviously that’s been completely scuppered by coronavirus. “If I’m on the road for an extended period of time, I tend to have written an album by the time I get back,” she says. A follow-up to this spring’s Song For Our Daughter may be a little way off, explains Laura Marling.
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