On ‘Patterns in Repeat’, with a quiet grace, Laura Marling revisits her life’s work of explicating the inner and outer worlds of womanhood, now from the dizzying heights of parenthood. View on euronew

It’s unsurprising that Marling feared the pram in the hall. Ever since the release of her 2008 debut album, Alas I Cannot Swim, released when she was just 18, critics have compared her precocious talent to that of Joni Mitchell – who put her only child up for adoption in 1965 and spent much of her subsequent songwriting career comparing the lonely exhilarations of her fearless artistry with the cosy prison of domesticity that she contemptuously/covetously cast as “the lady’s choice”.

Reflective of the sweetness and shock of a new baby, Patterns in Repeat solidifies Laura Marling’s folk prowess.

F olk music is in Laura Marling’s blood. The English singer-songwriter’s mother taught music and her father, a guitarist, ran a recording studio and introduced her to his inst

If there’s a rough-hewn tinge to Laura Marling’s eighth album, then there’s a wildly valid reason for it. It was written shortly after the folk singer-songwriter had her daughter, and was recorded in a home studio with the baby ever present – either in between naps,

On her eighth (and potentially final) album, the British singer-songwriter delivers sincere lullabies inspired by new-found parenthood, and the profound questions about mortality and familial lineage it prompts.

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