FEATURE:
Milk & Honey
Billie Marten’s Writing of Blues and Yellows at Eight
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IT is not often…
that I write about an album that is not coming up for a big anniversary. Because it is so significant to me, I wanted to look at the upcoming eighth anniversary of Billie Marten’s Writing of Blues and Yellows. Released on 23rd September, 2016, this was the debut from the Rippon-born artist. The twenty-five-year-old’s latest album, Drop Cherries, was released last year. In terms of its sounds and style, it reminds me a bit of her debut album. Since Writing of Blues and Yellows came out, Marten progressed her music and brought in new elements. Especially evident on 2021’s Flora Fauna. A blossoming and exceptional career so far. Marten has performed around the world, though I think she is worthy of bigger stages and award recognition. A fantastic songwriter with a distinct and stunning voice, it is going to be interesting seeing where she heads from here. I really love Writing of Blues and Yellow. It was a wonderful release in a rich year for music. In such a huge year for music, I don’t think that enough people spotlighted and talked about this fine debut. For me, it arrived in a year that was quite changeable and strange. In the music world, we had seen some incredible albums released, though we also lost two legendary artists: David Bowie and Prince. It was a real shock. In my personal life, I was in a job and place that I did not enjoy. Feeling trapped and stifled. Wanting to be in London – I moved there not too long after -, it was upsetting and frustrating. Music was a source of guidance and comfort. Trying to find escape and light through music. Billie Marten’s debut album resonated with me. Its sheer beauty and wonder captivated me. I got images of the Yorkshire countryside and the open world. Nature and something quite entrancing. I might well buy the Deluxe version of the album. Eight years later and I am still listening to the album!
I am not sure whether Billie Marten will celebrate it at all. Although her career has moved on, Writing of Blues and Yellows is hugely important. I think it deserves a Mercury Prize nomination. More critical reviews. I am going to get to a couple of the reviews that there are out there. Before that, an interview from Euphoriazine from 2016:
“When did you start playing and writing songs?
My Dad taught me four chords on a crappy pink guitar that he got for me when I was about 7/8. I just wanted to join in with him and my older brother because they both played and I was super jealous. Writing songs came a bit later; I think the first one was at 9 (it was God awful).
Who are your influences?
Everything in my parents’ record collection really; Kate Bush, John Martyn, Joni, Loudon Wainwright, Brian Eno, Joan Armatrading, Jeff Buckley, you know; those awe-inspiring humans that everyone wishes they were like.
Is there anyone you’d hope to collaborate with some day?
Most of them are dead sadly. I guess people completely removed from my bubble – experimental geniuses like James Blake, Jon Hopkins, Sigur Ros, people like that. Also Kendrick would definitely be an experience to remember.
Did you always want to go into music? Were there any other jobs you dreamt of when you were younger?
I never dreamt of being in music, I quite fancy being a cobbler or a mechanic someday, or I’ve always wanted to make soundtracks for films.
You signed a record deal with Chess Club at the very start of last year. How has it affected your teenage years?
It’s affected me only in the way that it would affect anyone I guess. It’s something you must get used to, and that does take time (no matter how comfortable you pretend to be with it) but I do remember signing and the next day having to sit an exam in the hall – that was a bit mad.
You were picked up by both Apple Music and BBC Sound for “up and coming” in 2016, how was that?
Such great news. I’m incredibly grateful.
Having played at festivals and with more lined up this summer, did you have any experiences of festivals before playing at them?
Only tiny local beer festivals or ones I used to go to with my mum back in the day. But my first ‘proper’ one was Leeds/ Reading 2014, where I did the BBC Introducing stage and that’s when I first understood how incredible music festivals are.
What was touring with Lucy Rose like?
I was completely terrified really, it was something you can’t ever predict and it could have gone terribly, but thanks to Lucy and Jake and everybody there, it made the days a whole lot better. You realise that a gig is just a gig, and it can be as controlled as you want it to be. Touring really helped me with my nerves – because gigs are situations I find incredibly difficult. So for that, I’m thankful.
If you ultimate celeb-royalty power, what would be on your rider?
Hard to put myself in that frame of mind… but if I had to it’d probably be something stupid like a jar of sand from my summers in Morocco or a framed picture of all my yachts and houses. Or maybe some tartan paint.
If you could only eat one kind of food for a whole month, what would it be?
COUS COUS. No question.
But I do love a good raspberry.
What was your last Google search?
I was searching capos to buy for this rehearsal I’m about to go into actually ha. I’m barely a musician so I’m useless like that and don’t remember anything I need except the guitar. Even then I’ve left that at home sometimes!
What’s your deal with alpacas?
I so regret putting the alpacas on the Internet!! I just love them. For my birthday once I got a day of walking them, and it was GREAT. I hope to get a few someday. I like them because they make very strange noises, and I found they only let you stroke their necks. I’ll stop talking about them now”.
I will wrap up soon. Before I get there, there are a couple of reviews that I want to bring in. CLASH had some positive words for an artist who, since 2016, how got a lot more attention from critics. A debut that some overlooked, I am glad that there were assessment of an album that was my favourite of the last decade. I listen to it and remember where I was when I heard it and what it meant to me:
“If there is any requirement we must advise before playing ‘Writing Of Blues And Yellows’, it is that you shut yourself away in a room and just listen. And hope for no background noise.
Billie Marten’s thoughtfully crafted debut is a collection of tales, retrospect and self-examination. Candidly honest about her periods of mental health, ‘Teeth’ places you in the centre of her overwrought mind: “I’m writing this in a bad way, no one can hear what my head says.” Her vocals are infused with a fragility that drills down into your consciousness, whether you want it to or not. Full of contradictions, ‘Lionhearted’ highlights the songwriter’s desire to be braver, yet she fails to acknowledge that she has achieved exactly this through her overt lyrical sincerity, which is intrinsic to the success of this record.
‘Writing Of Blues And Yellows’ manages to be flawlessly delicate in terms of instrumentals and tone, drawing on inspirations from her quaint upbringing in her home-town of Ripon just near the Yorkshire Dales. Fixating upon the wilderness and nature, this is a theme that is inter-weaved throughout songs ‘La Lune’, ‘Heavy Weather’ and ‘Hello Sunshine’; later on ‘Live’, she explores her close relationship with her family, versus her yearning to explore and find some adventure.
Billie Marten delivers a pragmatic album that explores the equilibrium between her positive and negative outlooks on life, whilst confirming that being preoccupied with our own contemplation is and will forever be an ongoing process of the human condition.
7/10”.
DIY also shared their review of Billie Marten’s majestic debut album. Such an accomplished work from a teenage artist, I would urge people to check it out. Marten’s immersive songwriting that switches from the personal to the dream-like. Every song draws you into its own world. I have my favourites – Emily and Heavy Weather -, though there are lesser-played tracks like Green that are gems that needs to be investigated:
“The title of Billie Marten’s album refers to her experience of synesthesia – a condition whereby the senses are intermingled. The Yorkshire songwriter sees music as colours. And for her first record, blues and yellows are all the rage. You don’t have to be a fellow synesthete, however, for debut to be a striking sensory experience.
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”.
On 26th September, Billie Marten’s Writing of Blues and Yellows turns eight. I hope that she raises a glass. It has a very special place in my heart! Helping me through a difficult and bad time, I keep coming back to this album. Hooked and mesmerised by the beauty of Marten’s voice and her truly exceptional songwriting. I can imagine her writing the album in her bedroom or around Ripon. Her home and surroundings infuses everything. Writing of Blues and Yellows remains a truly…
WONDERFUL debut album.