FEATURE:
My Album of the Decade
Billie Marten – Writing of Blues and Yellows
___________
I am doing a few features before January…
IN THIS PHOTO: Billie Marten in 2016/PHOTO CREDIT: Danny Payne
that looks back at terrific albums; one will celebrate albums turning twenty-five next year. I think it is important to spotlight truly great albums and, as we are near the end of 2019, I am looking back at the sounds of the decade. Rather than compile my favourite albums as a long list, I wanted to concentrate on my favourite from the 2010s. There was a lot of competition but, when it came to be deciding which albums was at the top, I concentrated on the one that has made the biggest impact, there was one that stood out. One of my favourite albums of this year is Feeding Seahorses by Hand; her debut album, Writing of Blues and Yellows, is my favourite of this decade. Released through RCA Records/Chess Club on 23rd September, 2016, Billie Marten’s astonishing album took me aback! The title suggests sadness and cowardice, maybe; perhaps the blue is for the clear sky and the yellow is the sunshine. When thinking of this album, I am transfixed by many things. Firstly, the cover is a painting of Marten; a far-off look is on her face and one wonders what she is thinking. I know Marten herself feels her current album is more accomplished and truer to herself. On Writing of Blues and Yellows, Marten was still in school and writing whilst her family home in Ripon, Yorkshire. One can pick up elements of the country and open; a need for this teen to get some space but, in many moments, basking in the comfort of home.
Marten openly talks about mental-health and vulnerability in a way that is refreshing but never too heavy; her lyrics are constantly outstanding and mix pure poetry with heartfelt and raw honesty. A lot of songwriters employ subterfuge and cliché because it is easier, and they do not have to feel exposed and susceptible. Marten’s compositions rely mostly on acoustic guitar and piano but, at some of her most revealing moments, there are strings and electric guitar that add weight, surprise and new emotions. The production is incredible throughout and one gets a sense you are listening to this album being recorded live; like you are sitting in Marten’s home as she plays her songs whilst looking out on the garden – watching her dad mow the lawn or her mum talking to a neighbour. One gets this warmth from the record but, rather than keep her in the familiarity of home, Marten leads us outside and brings the listener into her world. The biggest differences between Marten’s debut and Feeding Seahorses by Hand are the change of setting and home. Marten now resides in East London and, on her sophomore album, talks more about the city and politics. Marten turned twenty earlier this year, and one gets the feeling (on her second album) of a young woman making her own way in the world and being more conscious of people around her – in a huge city, that comes into sharp focus! Feeding Seahorses by Hand is a fantastic album and moves her work forward; her compositions are more adventurous, and the lyrical palette is broader – although Marten still talks about her struggles and loneliness in a very brave and real way.
I have written about Writing of Blues and Yellows a few times; either as my favourite album of 2016 or when talking about Billie Marten as a musician. Lots has happened since that album arrived – including tours around the world -, but I find myself returning to her debut because of what was happening in my life at the time (in 2016). I had moved out of home for the first time since university and, whilst I was close to my family home, it was a period of adjustment and change. I am not the best with change, so living in a new house and adopting to a fresh way of living had its darker moments. I was also starting a new job and getting used to that. One can imagine that it was difficult, so music naturally formed a comfort and sense of escape. I was aware of Billie Marten a little before Writing of Blues and Yellows arrived. She had been posting videos to YouTube years before and was starting to get people whispering with songs like Bird and La Lune. Those two tracks show a sensitive and beauty that flaws you; a voice that is full of longing and uncertainty. When hearing Marten glide, you are there with her. For a debut album, Writing of Blues and Yellows is remarkably consistent, focused and accomplished. On Live, she looks abroad and cities she has not seen; Green catches you with its unexpectedly spirited drumming whilst Lionhearted is the young artist aware of the world around her and how she wishes she was bolder and bravery.
Marten never wallows or asks for sympathy, nor does she put on a mask. The fact Writing of Blues and Yellows is so frank and beautiful means you keep coming back to experience such rich and meaningful music. Two songs especially stuck out from the album: Heavy Weather and Emily. The former has one of the most beautiful and soothing choruses I have ever heard – even if that is not the intent! The guitar on the track is subtle but powerful; the lyrics take you into the wild as the rains lash and two lost souls are bonded together. Emily was one of the more unexpected revelations. If you hear songs like Hello Sunshine and Bird, you may have Marten pegged as a Joni Mitchell-type artist or someone with a single dimension. Emily is darker in tone. It has a rare appearance of electric guitar; one that picks, plucks and creeps as we hear Marten offer far-off backing vocals.
PHOTO CREDIT: Danny Payne
There is this eeriness but, of course, beauty mixes in too. Marten shows incredible variety on her first album outing. I am not sure why I bonded with those songs over the rest, but they provided me the most guidance and company. Whilst 2016 provided albums as hot as Lemonade by Beyoncé, Billie Marten’s Writing of Blues and Yellows remaining in mind longer and, three years after its release, I keep coming back to. Normally, the albums I remember fondest have a lot of energy and are quite upbeat. Maybe it is because I see a kindred spirit in Marten; maybe the sheer quality of the songwriting and the marvel of her voice means Writing of Blues and Yellows lingers like a wonderful dream.
The reviews for Writing of Blues and Yellows were really positive. Most reviews I saw were four-star and backed Marten as a songwriter to watch. This is how DIY described Writing of Blues and Yellows:
“You can almost see the rain lashing against the windows on ‘Heavy Weather’ - an album highlight which conjures up a scene of sheltering from a storm. For the majestic ‘Lionhearted’, the buzz of guitar strings can virtually be felt with every slide along the fretboard. You can perhaps even taste the country air of her home country as birdsong trickles through on ‘Teeth’.
The Laura Marling comparison might seem like a lazy one, however the similarities extend beyond releasing a folky debut album at the age of 17. Billie is another wunderkind who’s also clearly a big thinker, able to express her thoughts in a mind-bogglingly mature and commanding way. She might be fresh-faced but there are moments of world-weariness. ‘Milk & Honey’ sees her despairing of greedy, materialistic desires over alluring strings. ‘Emily’ leans closest sonically to Marling’s debut ‘Alas, I Cannot Swim’, in which she despondently proclaims “we don’t have grace, we are foolish and shy”.
There’s a lack of ostentation from start to finish. The sound is uncluttered but never lacking in clout. It’s a quality most glaringly obvious on the acapella closer, a cover of Jane & Barton’s ‘It’s A Fine Day’. All signs point towards a colourful future for this talented teen”.
IN THIS PHOTO: Billie Marten circa 2015/PHOTO CREDIT: Luc Coiffait
Whilst Marten has conducted a fair few interviews this year, there was a smattering out in 2016/2017. Maybe it was because she was new, and many did not know about her beautiful music and talent. One interview I wanted to source from was Under the Radar (published on 15th February, 2017); Marten was asked how she viewed 2016:
“2016 was regarded by many as a fairly tough and negative year. Was it also a hard year for you personally? If so, how? And also what were the high points for you?
What a horrible wet towel of a year. I think it was for us all, but this year really didn't pan out the way I thought it would. I never expected to make a record and release it, or do any of these crazy festivals, and never would I imagine my own tour happening. So musically, it has been fantastic. Personally there's been a lot of struggle coming to terms with understanding it all.
What are your thoughts on how the U.S. presidential election played out?
It's a real joke, a bad one.
What are your thoughts on Brexit and the future of the European Union? To what extent do you think the Brexit vote and the election of Donald Trump were motivated by the same factors?
This generation's distorted view of the 21st Centuryworld—it's rather scary people make these choices based on propaganda and the media that is specifically served to them, they are essentially agreeing with themselves and being backed up by false arguments. We get ourselves so easily worked up and mislead by things. You must watch HyperNormalisation.
Under the Radar has been around for 15 years now, since December 2001. How do you feel the music industry has most changed in that time, both for the better and the worst?
Well I feel I know very little about it, but everyone sort of gathers his or her own collected view. I feel this year especially has been more about pushing out more and more music, regardless of how good it is, just for peoples' consumptive needs. But I know this year has had some of the best music ever made and new artists are sort of starting this DIY generation where you can create anything irrespective of who you are or how much money you have. I love this under-the-radar focus, it allows anyone to be anyone and make the music that they really do love.
What band, besides your own, has the best name?
I like Goat Girl this year. Also Cabbage, but I've not listened to their music yet.
What's the most vivid dream or nightmare you had in 2016?
I keep having repeated post apocalyptic dreams at the moment. Weird.
What VHS tape or DVD did you wear out growing up?
There was a lot of Parsley the Lion [from The Herbs and The Adventures of Parsley], and I absolutely loved Dumbo”.
In many ways, the political situation has worsened since 2016. Marten addresses the changing landscape on her latest album and, whilst that is important, I find something magical in Writing of Blues and Yellows. It is the sound of a young woman making her first steps and reacting to the challenges of her teenage years. Whilst one can hear shades of Joni Mitchell and Jeff Buckley through the album, Marten never wears her influences on her sleeve: the fact she is unique and writes from the heart means the album stays with you long after you have listened to it. I have Writing of Blues and Yellows on vinyl, but I would recommend others to buy it. The album was missed off of most people’s best of 2016 lists. I was shocked considered some weaker-reviewed albums featured in many lists.
IN THIS PHOTO: Billie Marten in 2019/PHOTO CREDIT: Marieke Macklon for The Line of Best Fit
Maybe critics wanted something bolder and more energised. I don’t know. What I do know is that Billie Marten wowed so many people in 2016 and, as I look to 2020, I have been thinking about my favourite albums from this decade. There are quite a few that I would throw into the mix. Kendrick Lamar’s To Pimp a Butterfly (2015) and Beyoncé’s Lemonade (2016) would be in my top-five; I would also have David Bowie’s Blackstar (2016) in there, in addition to D’Angelo and the Vanguard’s Black Messiah (2014) – quite a back-loaded pick; I did enjoy a lot of albums from the first half of the 2010s. In terms of personal relevance and impact, the album that makes it to the top of the stack is…
WRITING of Blues and Yellows by Billie Marten.