Laura Marling - I Speak Because I Can

Folk music is a genre that has found itself heavily borrowed from since its glory days in the sixties, when the likes of Bob Dylan and Paul Simon reigned supreme. Since then the closest that most Brits have had to this were the likes of singer-songwriters such as Beth Orton introducing an element of electronica as a means of achieving a different sound that can equal solo success. In America however the folk revival has well and truly been underway for the last decade with Devendra Banhart, Joanna Newsom and Sufjan Stevens all spear-heading the movement to once again have folk music recognised as a major musical influence. A few years later this wave of publicity hit Britain, becoming the catalyst for the emergence of acts such as Noah and the Whale, Mumford & Sons and of course Laura Marling. With I Speak Because I Can, the follow-up to her Mercury Prize nominated debut Alas I Cannot Swim, is Laura Marling truly ready to be the poster-girl for the current British folk revival?

The one problem that many tend to find with folk music is that many artists whose lyrics are great just have incredibly annoying voices coupled with a penchant for harmonica solos at any given opportunity (not naming names). Then you get the likes of Laura Marling who appear to possess the entire folk package with not only smart and mature lyrics (considering especially that she’s only just turned 20) and a melodious voice that is always a joy to hear.

The other amazing thing is that she is able to conjure images of all the folk goddesses of the golden day with her possession of Joan Baez’s beautiful voice (cross reference Marling’s ‘Blackberry Stone’ with Baez’s ‘Donna Donna’) and a lyrics sheet that is already beginning to rival that of Joni Mitchell. Considering the names involved, this is high praise indeed but considering how this album has already illustrated a huge development in her confidence, echoed even in the album titles with Alas I Cannot Swim transforming into I Speak Because I Can, and her increased lyrical mastery.

Joys such as ‘Devil’s Spoke’, with its powerful banjo and swelling production, and the melancholic wonder of the title track are all the more sweet because this is music that should not be selling. Looking at the current musical climate, it is true that female solo singers are cashing in but usually with pop songs about falling in love (Ellie Goulding), getting wasted (Ke$ha) or hearing voices (Lady GaGa). Marling, however, lets her smart lyrics and wonderful voice do all the work, singing her elegies of loss and maturation; she’s apparently due some actual chart success this time round.

This will surely be followed by long overdue accolades since her last album saw her spread via word of mouth and this time she has major radio stations onside. With all this attention, she should reach huge levels of exposure that may improve a greater recognition for all those aspiring British folk singers out there.

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