New Album “Drop Cherries” drops it fruit TODAY, Isaac Stubbings reviews
Closing and opening doors in a binary sequence, looking for a concrete conclusion is a trap many artists fall into, never revisiting or reflecting upon lingering emotions and subject matters, but instead moving towards new narratives in order to answer their questions. Billie Marten is content with staying true to herself and following the path she paved in her music, seemingly seeking clarity, taking time to reflect and re-evaluate her emotions.
Following the departure from her folk-pop roots with the highly acclaimed release of Flora Fauna (2021), Billie Marten’s fourth album Drop Cherries is a beautiful display of romance and introspection. It dances with emotion and breathes vibrancy, reconnecting with her past to create something that is as strong as the visceral imagery its named after.
Drop Cherries calls out to the listener, invoking a familiar and comforting atmosphere that openly invites us to melt in the vibrancy of the emotions on display. Opening track ‘New Idea’ beckons us with the sound of an ethereal hum, accompanied by a familiar and gentle fingerpicked guitar reminiscent of her long established sound. Sweeping strings are introduced, weaving and frolicing in tandem to the guitar like dandelions picked up by the wind. The song suggests a kind of introductory reflection, setting a gentle and peaceful pace which immerses us in the atmospheric calm, theres a welcome return to traits of Writing of Blues and Yellows (2016), while giving us a taste of the orchestration, a characteristic of this album we’ll hear fleshed out throughout the record.
After the gentle and tender welcome, the following track ‘God Above’ calls us to follow Marten’s lead as we’re paced with a playful amble called on by a gutsy hook from the bassline. The carefree and benevolent chorus entices an unapologetic feeling of affection and joy, encouraging us to let our guard down and get lost in the emotion. As an absolute highlight of the record, it’s reminiscent of spending time around a campfire, utterly fixated in listening to peoples’ stories, you’re left hanging on every word out of admiration.
The progression of the album pulls you through passionate themes of devotion, yearning, lust, to even sometimes obsession and idealism, wanting to take that love and contain it in a box for oneself. You can take it all at your own pace, as Marten describes “ You can either skate this album’s surface or dive right to the core.” Through the narrative Marten allows time and space to appreciate the ideas of desire and love. Reflected in the orchestration, the album adds another layer of depth which dances and plays around her established vocals and guitar, oftentimes feeling like the characterisation of these concepts that’s been present over the span of her musical career, as this time she finally fully acknowledges and communicates with it, dissecting these feelings. This plays into sequencing, for example, her last single to release ‘I Can’t Get My Head Around You’ being reminiscent of Flora Fauna with its production and chorus, Then moving into ‘Willow’ which has a simple verse containing duetting vocals and guitar, akin to her first album, until it slowly builds, eventually blossoming with the embrace of the wider orchestral instrumentation. Even including a break to focus on woodwind, making for some great dynamic variation and additional texture.
Recorded entirely on tape in Somerset and Wales, you can feel the fresh summer air breathing though the album, leaving space for some wonderfully natural sounding reverb that opens up the imagery present. This is apparent in ‘Arrows’, it feels light and airy, vocal melodies sway and glide through the song whilst the plucking of higher notes on guitar pierce through like arrows. This is contrasted by tracks like ‘I bend to him’, a song of raw emotion at it’s core, focusing in on Marten, letting her voice fill the space in an intimate and cosy environment or even ‘Tongue’. In which we’re met with a call and response between her vocals and strings, emulating that dance. Drop Cherries is also significant in the fact that it’s Marten’s first release in which she both wrote and co-produced herself, working with Dom Monks, someone who she had previously collaborated with on Feeding Seahorses by Hand and has credits from artists like Nick Cave and Big Thief. The Organic material of the recording conditions are reflected in the way Marten plays and sings, allowing her to fully immerse herself in these warm, sickening and unpredictable feelings that combine together to produce something that’s a genuine masterwork of romance.
The longest song in the album happens to be the last, ‘Drop Cherries’, coming in at 4 minutes and 25 seconds. A beautiful lovesong almost to herself, it shows the comfort and happiness that can found spending time alone and reflecting upon feelings of love and romance, allowing it to form in vivid and vibrant imagery. “Now I know what I’m here for” is a beautiful line to end with, whilst certainly not the end of her search she can take the next steps with further clarity. If you’re a fan of Billie Marten then there’s no doubt you’re going to fall in love with this release and I can’t wait to have this one playing all summer long.
Drop Cherries releases April 7th via Fiction Records.
Reviewed by @ilnsimages
Isaac Stubbings @ilnsimages
Role: Photographer & Reviewer
Hey! I'm a photographer who uses music as a core influence in all my photography. I love looking towards colour and lighting to try and emulate a narrative that enhances my work.
Qualifications: I study Photography at the University of the West of England, Bristol.
Available for: Gig Shoots, Photo Shoots, Album and Single cover shoots and Touring
First attended gig: The first gig I went to was to see the band Beach House in Brighton when I was about 14. It was in a big church and I remember the dreamy vocals and synths sounded amazing with the acoustics of the place. After that, I was hooked on the experience of going to see live music.
First gig shot: In college I shot a couple of my friends’ bands in tiny venues, but I think the first proper gig I shot was Newdad at Thekla. Wanting to get back into music photography, I reached out – not really expecting to hear back – and it meant a lot to me when I was put on the list to shoot one of my favourite bands. It was such an enjoyable and rewarding experience for me, so after that I was set on pursuing it further.
Dream gig: Big question. There are so many I could think of, but it would have to be The Cure in a small intimate venue.
