2017 release, the sixth album from the British folk snger/songwriter. Semper Femina is an intimate, devoted exploration of femininity and female relationships, and among her finest work to date. Written largely on the tour that followed 2015's Short Movie and recorded in Los Angeles with production from Blake Mills, it is at once a distinctive and musically compelling collection of songs, run through with Marling's fierce intelligence; a keen, beautiful and unparalleled take on womanhood. Laura's debut album Alas, I Cannot Swim, her second album I Speak Because I Can, and her fourth album Once I Was an Eagle were each nominated for the Mercury Music Prize in 2008, 2010, and 2013, respectively. She won the Brit Award for Best British Female Solo Artist at the 2011 Brit Awards, and was nominated for the same award at the 2012, 2014 and 2016 Brit Awards.

Laura Marling returns this May with the follow up to 2011's 'A Creature I Don't Know'.
The new album, 'Once I Was An Eagle', was recorded at the Three Crows studio of regular producer and instrumentalist Ethan Johns (Kings of Leon, Ryan Adams, Vaccines), with Dom Monks on engineering duties and Marling's lifelong friend Ruth de Turberville on cello. It's a hugely ambitious record that reflects the dark themes of 'A Creature I Don't Know',
This is Laura's fourth album - an achievement in itself for a 23 year old, the remarkable nature of her talent and career being underlined by the 2011 Brit Award for Best British Female Solo Artist, the two Mercury Music Prize nominations, and the NME Award for Best Solo Artist that she's received in the years since her 2007 debut 'Alas I Cannot Swim'.

Special two disc (CD + NTSC/Region 0 DVD) edition housed in special box which includes a DVD that contains a 45 minute behind the scenes documentary, incorporating footage from the 'Laura Marling & Friends' show at the Royal Festival Hall in London last summer. 2010 sophomore album from the British singer/songwriter. I Speak Because I Can is Laura Marling's coming of age album, its 10 songs imbued with a new richness, ripeness and sophistication. It is also an album marked by its quintessential Englishness. For all its American instrumentation, its shades of Crosby Stills and Nash, Joni Mitchell, Neil Young, Leonard Cohen, its American producer, these songs are no pale Americana interpretation; rather they are tales deeply rooted in England. EMI.

My new album Song For Our Daughter is coming out this week, ahead of our planned schedule. In light of the change to all our circumstances, I saw no reason to hold back on something that, at the very least, might entertain, and at its best, provide some sense of union.
It’s strange to watch the facade of our daily lives dissolve away, leaving only the essentials; those we love and our worry for them. An album, stripped of everything that modernity and ownership does to it, is essentially a piece of me, and I’d like for you to have it. I’d like for you, perhaps, to hear a strange story about the fragmentary, nonsensical experience of trauma and an enduring quest to understand what it is to be a woman in this society. When I listen back to it now, it makes more sense to me then when I wrote it. My writing, as ever, was months, years, in front of my conscious mind. It was there all along, guiding me gently through the chaos of living. And that, in itself, describes the sentiment of the album — how would I guide my daughter, arm her and prepare her for life and all of its nuance? I’m older now, old enough to have a daughter of my own, and I feel acutely the responsibility to defend The Girl. The Girl that might be lost, torn from innocence prematurely or unwittingly fragmented by forces that dominate society. I want to stand behind her and whisper in her ear all the confidences and affirmations I had found so difficult to provide myself. This album is that strange whisper; a little distorted, a little out of sequence, such is life.
I want you to have it.
--Laura Marling

Laura Marling has announced her follow-up to 2013's Once I Was an Eagle. The new LP is titled Short Movie, and will be released on March 23 via Virgin EMI; that's the artwork, above. In addition to announcing the LP, Marling has unveiled its title track in the form of an animated music video directed by Art & Graft.

LUMP was born of good timing and predestined compatibility. It began one night in mid-June 2016, when Mike Lindsay – founding member of Tunng and Throws, and a prolific, Mercury prize-winning producer – was introduced to Grammy-nominated, Brit award-winning singer-songwriter Laura Marling after her show supporting Neil Young in London. On meeting, Lindsay and Marling discovered they had long been admirers of each other’s work.
Lindsay had been busy for some months composing an intricate, ambitious new sound cycle. His compositional style had evolved over the course of years of musical experimentation with Tunng, and during his time spent producing other people’s records while living in Iceland. He had arrived at a remarkably visual, colourful sound – a heady blend of wonked-out guitars, Moog synths and pattering drums, set against droning, coiling clouds of flutes and voices.
With the project in need of a lyricist and vocalist, Lindsay and Marling's meeting of minds seemed all the more fortuitous. He quickly invited her to step into his world, and a few days later they retreated into his subterranean London studio in order to unite their energies and create LUMP.
That world turned out to be somewhere Marling felt instinctively at home. Inspired by early-20th-century Surrealism and the absurdist poetry of Edward Lear and Ivor Cutler, she wanted to slice through the apparent emptiness of contemporary life. Her resulting creation is a bizarre but compelling narrative about the commodification of curated public personas, the mundane absurdity of individualism, and the lengths we go to escape our own meaninglessness.
Perhaps the most direct manifestation of the album’s concept is its central song, Curse of the Contemporary. A steady, pulsing bassline divines a road snaking off towards the horizon -– a sense of gazing out of a car window as mountains and palm trees rush by. Marling begins: “If you should be bored in California / I’m sure I’m not the first to warn you,” and as the song goes on, her words drip with ever more cynicism for the new age: “We salute the sun / Because when the day is done / We can’t believe what we’ve become / Something else to prey upon.”
Elsewhere, opening track Late to the Flight tells of a man dreaming about his own death – or perhaps the death of his carefully curated persona – after being advised not to dress in a manner he might regret: “Don’t wear your smiley face T-shirt tonight.”

The composers are keen to stress that LUMP is a creation that passed through them, and they look upon it parentally. It is their understanding that, now it has come into being, LUMP is the artist, and it will continue to create itself from here on. Lindsay and Marling will assist it as necessary.

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Laura Marling is an alt.folk star in the ascendant whose striking melodies and wise-beyond-her-years vocals could melt even the iciest of hearts, muddling the strength of Regina Spektor with the intelligence of Carole King and the acoustic lushness of Joni Mitchell. The 17-year-old small town girl - Eversley just outside of Reading to be exact - sings about love, lust and romance, the futility of religion, self-loathing and human psychology. Each one of her songs is a mini-blast of prime poetry, gorgeous melody and sublime songwomanship.
She began playing the guitar at the age of three, first being taught the blues by her father in front of the family fire, and has been in thrall to the songs and lyrics of the likes of Neil Young, Bob Dylan, James Taylor and John Mayall ever since. It’s not just the “golden-oldies” that Laura admires; she also harbours a rather deep love for alt.country’s favourite son, Ryan Adams. “He’s brilliant, there’s nothing that even comes close, he can paint the most amazing pictures in your mind.”
Laura’s already hugely popular with indie’s big hitters; Jamie T personally invited her on tour with him last year after being hugely impressed by her gorgeous modern folk-pop when he caught her playing just her second ever gig.
Laura’s part of the extended Way Out West family, having played five eminent shows at the label’s Brentford FC night before the club was finally moved on. ‘The London Town EP’ is in the spirit of a testimonial to the label and a recognition of all the support they’ve given her. As well as the title track - a swinging strut of a song - the EP will include ‘She's Changed’ - a more telling look into the mindset of a teenage girl than anything you could get via watching a whole series of Skins; ‘Failure’, a marvellously mature mellow pop masterpiece which takes in everything from the futility of religion and fading rock and roll stars to aching self-doubt, and ‘Tap At My Window’, a song, as Laura says, “influenced by that Philip Larkin poem.”

Third album from Laura Marling this young British singer-songwriter. Produced by past collaborator Ethan Johns.

2008 debut album from the young British Folk singer/songwriter who will appeal to fans of Kirsty Maccoll, Linda Thompson and Kate Nash. Although not legally old enough to buy a drink, this darling of the Art-Folk circuit has been selling out clubs and garnering critical acclaim. Her gentle Folk songs are haunting, cool and personable. With talent to back up the critical hype that is just beginning, Marling is savvy enough to have released an album that stands tall above the other female singer/songwriters on the scene today. 12 tracks including the single 'Ghosts'. Virgin.