A Man Called Rage

An air of inquiry suffuses Laura Marling's third album, a mood of experimentation as cerebral as it is playful. Opening song The Muse is like nothing she has released before: swaggering and brassy, with her voice pulling angular shapes across saloon-jazz piano and tight brush drums. Salinas and Rest in the Bed are like miniature western movies, with spit and sawdust in the guitar and banjo lines, melodrama in the backing vocals and Marling squinting at a relentless sun as her characters glare fate in the face. As on last year's I Speak Because I Can, Marling can sound curiously dispassionate, slurring the chorus of Don't Ask Me Why, maintaining a studied cool at the start of Sophia as she murmurs: "Where I have been lately is no concern of yours." But when Sophia unfurls into a glowing country romp, the distance between her and us suddenly shrinks – and the feeling is exhilarating.