When you hear Martha Marlow sing her fluid, rhythmic and elegant songs – alone, with a small ensemble, or with a 17-piece string orchestra – you begin to understand why this painter and writer says “I’m singing into the silence of what I paint.”
Landscape and beauty feed into the songs of vulnerability and grief on her debut album, Medicine Man, where openness is the story and pain is virtually a character of its own.
Co-produced with one of Australia’s best jazz musicians and string arranger on the record, Jonathan Zwartz (who also happens to be Martha’s father), this album taps into one of the creatively fertile periods of artistic life, and also one of the darkest, personally.
