Marlody - I’m not sure at all

​Marlody

I’m not sure at all
self-released; 2021

4.2 out of 5 - TOP ALBUM

By Dino DiMuro

Marlody is the stage name for J. Rowan, a young singer and pianist based in Kent, UK. She began as a classically trained pianist when she was a child, then moved on to a lo-fi post-rock band singing and playing keys, flute and melodica. That band was influenced by Sonic Youth, Slint, Yo La Tengo, Do Make Say Think and Don Caballero. After a decade’s break from music she began writing her own songs between 2019 and 2021, which appear on her first solo album titled I’m Not Sure At All. 

Marlody says she begins her writing process by sitting at the piano and improvising until she finds the story she wants to tell. She adds that she was diagnosed with bipolar disorder, and that some of her lyrics reflect this condition, along with the challenges we face in life and in relating to each other. “I’ve missed making music with other people, but isolating myself and concentrating on songwriting somehow helped me become more authentic in my work, not really worrying what anyone thought… Of course I hope other people can relate to my songs now that I’m sharing them!” 

Some of Marlody’s tracks were created on GarageBand, before she upgraded to Logic. She attended a local college to learn basic music tech before recording at home, and describes her sound as ranging from “simple acoustic ballads to more electronic with drum machines.” She also mentions that some of her singing was “half-whispered in the dead of night while my family were quietly sleeping. I (also) decided to embrace the lo-fi elements of the songs I recorded on my upright piano, some with a very basic microphone, before I bought my trusty Rode NT1-A.” Among her influences are The National, Perfume Genius, Quinn Christopherson, Low, Phoebe Bridgers, Olafur Arnolds and Gia Margaret. Mastering is credited to Marlody’s friend Gareth Leggeat.

My overall impression is that Marlody’s a rare kind of artist whose sound goes from rough to polished and back again, but her inspiration and artistic drive overpower any technical considerations. In fact, in many cases her songs derive their power from their flaws. In the opening track “These Doubts” Marlody’s beautiful voice does indeed sound like a choir of angels who all got sent to bed early, harmonizing in the dark together before falling to sleep. She’s singing at least a three-part harmony, if not four or more. This is possibly one of the GarageBand tracks, but it feels completely of its own universe. I love the beats and the distant, groaning synth sounds.

“Summer” introduces Marlody’s piano, and it seems to be playing from another room. This is wholly appropriate for the heart-stabbing lyrics of this song, which appear to be reminiscences of a separated parent. The vocals are right up front, yet feel reserved at the same time. “Malevolence” is next, and though I try to avoid mentioning Kate Bush any time a creative and expressive female artist comes along, I have to play that card here. Marlody’s vocals, playing and arrangement all point to Bush’s influence, especially from the era of The Dreaming. It is a short and bracing track. “Up” is another short piano and electronic keys movement with vocals starting halfway through. It would have worked as an instrumental but the vocals take the song up another notch.

“Wrong” is a song in which Marlody had to use a De-noiser on the piano track. The contrast between the muted, ghostly piano and the close up, sweet and shimmering vocals is something I can’t get enough of. “Words” is built from a 1-2-3-4 synth sequence onto which Marlody hangs her vocals, which this time suggest The Roches. “Friends In Low Places” is a very evocative title. Are the low places emotional, or are her friends literally six feet under? The songwriting here reminded me of Tori Amos, and I love how the electronic drums kick in after the distant piano has been playing a while. 

“Change” is an understated title for the ultimate change: a suicidal death by drowning. Marlody tells this chilling tale with sweet, double-tracked piano and hushed vocals, and thankfully the narrator is rescued and sees life differently. “From the dawn to the evening / Part of me gone, the rest is healing / And I hope I don't forget how good it is / Just to be here now again.”

“Runaway” is an electric piano and vocal piece that has a ’70s singer/songwriter sound in the Laura Nyro vein. Strangely, this also sounds like one of the more contemporary tracks, and if a band had kicked in, I could easily imagine hearing this on alternative radio. As it happens, there’s a simple drum machine beat that serves the track nicely. One of my favorites. “Otherly” ends the collection on an otherworldly note indeed, with the primitive beats and low-end patches roiling around beneath Marlody’s vocals. This one’s a little scary, as the singer seems to be questioning the value of faith “that has no mooring place… your only hope will lift you as you lay, upon the earth in which you will decay.”

As far as new music goes, I live to stumble upon these artists who make great music with the tools at hand. I can’t wait to see where Marlody goes next!

Spotify

Tweet