The most extravagantly gifted young singer-songwriter

Today is Laura Marling day here at the editorial office of Memories of the future. After first reading about her rise to fame and forthcoming album in The Independent I found out that the whole thing is streaming over at The New York Times. So I headed over there, real fast. Now I am in the middle of her new music. Laura Marling is one of the most remarkable musicians I know. I remember seeing her after she had released her debut album in Paradiso in Amsterdam when she opened for Andrew Bird. She stood in a white dress and she had a friend with her who played the cello. It was clear that she was something different, even though Andrew Bird blew her out of the water that time. I’m not so sure that he ever will again.

Last year I saw her play in a beautiful church in Göteborg at the Way Out West festival (picture), one of the definite high points during the festival. It was then that she showed just how much she had developed with her thornier and more confrontational second album. This was a unique storyteller with haunting stories that should not be possible to come up with at her age. But she did, and we sat silently in the church and listened. I’m sure at least a few jaws dropped to the ground during that show.

Next week it’s time for her to release her third album, “A Creature I Don’t Know”. A few songs in it sound like a natural continuation on her second album. “Night After Night” is a standout track.

The Independent calls her “the most extravagantly gifted young singer-songwriter operating in Britain today”, I second that, and if I would not need to focus my writing on work related tasks I would raise it with some well thought out words. Now I’ll make due with listening to her haunting and unedited stories: “I never edit the songs that come out. And they tend to come out as a whole. The closest thing I have ever done to editing them is just cutting out a verse, but never rewriting lyrics. And so sometimes I struggled to really know what I was saying in this album.” she tells the New York Times. As a hater of editing I understand her. However, it difficult to grasp how she manages to get things so right the first time around. But then again, Laura Marling is someone who isn’t really graspable.

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