On Oct. 25, critically acclaimed English singer-songwriter and folk artist Laura Marling released her eighth studio album, “Patterns in Repeat.” It is the first project she has released since “Songs For Our Daughter” in 2020, right after the global pandemic began. A lot has changed for Marling since then, most notably having her first child in 2023, the catalyst for making this album. A statement on her Bandcamp page says this album has Marling reflecting on her new maternal worldview and other familial connections.
With 11 tracks spanning 36 minutes, Marling leaves a brief yet powerful impression on the listener. Those accustomed to her music are familiar with the acoustic intimacy that permeates her discography, but this project is even softer than before. Acoustic guitar, piano and light string arrangements make up most of the instrumental palette. Unlike her previous endeavors, there are no drums on the album, allowing the delicate instrumentals and Marling’s soothing vocals to shine.
The album opens with “Child of Mine,” where Marling spotlights how she will cherish her relationship with her daughter. Indistinct conversation between a man, woman and a baby’s cooing take up the first 20 seconds, setting the cozy and familial tone of the record. Marling acknowledges the difficulties of parenting a toddler in the lyrics, mentioning the long nights, the burden of teaching them everything and not always being there to comfort them. But despite the work, she vows to appreciate every moment and take nothing for granted.
The fourth track, “No One’s Gonna Love You Like I Can,” continues the emphasis on family, focusing on appreciating a partner. Delicate free-flowing piano guides the song as Marling divulges the intimate knowledge and love she has for this person. Everything slows down during the bridge and emphatic strings take the spotlight, creating one of the most beautiful moments on a song released this year.
The record takes an ominous turn on “The Shadows,” the fifth track on the album. The lyrics detail someone the narrator was dependent on leaving and the inner turmoil this gives them. Marling sings quietly without any backing vocals, her guitar playing is slow and cryptic and the strings dramatize the narrator’s despair. While not outright depressing, this is certainly the most somber moment on the album.
Marling doesn’t wallow in darkness for long, however, as the following track, “Interlude (Time Passages),” is a jaunty instrumental segment that disavows its dooming predecessor. This is one of the more unique songs on the record, breaking from the standard instruments and adding woodwinds to the mix. The result is not unlike some of Masakatsu Takagi’s folk compositions. The mirthfulness of the song is remarkable, perfectly capturing what it feels like to be a little kid running around on a cool summer day.
The next couple of tracks on the album are fittingly placed after the “time skip” interlude. “Caroline” opens with spirited fingerstyle guitar reminiscent of Nick Drake’s work on “Bryter Layter.” The song is about a long-lost friend reconnecting with the narrator and the conflicted feelings this creates. The infectious chorus is a bit tongue-in-cheek, describing a song about Caroline that the narrator has forgotten by now. The words that would be there are replaced with a cluster of “la la las” instead.
The following track, “Looking Back,” was originally written by Marling’s father, Charlie Marling. It’s a bittersweet cut from the perspective of an older person reflecting on their life and the love they shared with others over time. Old age looms threateningly, yet the confined and nostalgic narrator isn’t bothered. They have learned to cherish their memories and live vicariously through those they have spent their life loving.
On the final stretch of the album, Marling returns to the family values that make this album so special. On “Lullaby,” Marling softly sings her child to sleep by promising her safety. The stripped soundscape of the album complements this goal and leads to an unmatched soothing experience. The penultimate track, “Patterns in Repeat,” shifts the adoration to her partner.
Marling sings of this person’s different quirks and flaws that persist over time, their “patterns in repeat.” But the bridge culminates in Marling loving this person indiscriminately and without regret, inviting them to embark on parenthood with her. Marling’s backing vocals overlap dramatically here, really pronouncing the message before a beautiful outro of humming, strings and guitar take over.
The album ends on a shortened instrumental of “Lullaby,” a peaceful resolution to the record. It’s an invitation for Marling’s daughter, partner and the listener to take a moment to breathe, relax and appreciate the delicate and thoughtful music that’s been playing.
Laura Marling’s “Patterns in Repeat” is a beautiful album that accomplishes a lot in a short amount of time and with a limited range of sound. It’s a calming, well-written experience that will make you appreciate life and cherish the friends and family that surround you.
Rating: 4.25/5