‘ALWAYS A WOMAN’ is the literal translation of Semper Femina, the title of Laura Marling’s sixth full-length release. Taken from its original context (ancient Roman poet Virgil’s Aeneid), the Latin phrase is part of a warning that translates as “woman is always fickle and changeable”.

Laying the foundations for one of her most powerful records to date, it is an ominous perspective which Marling subverts with great nuance and emotional depth from start to finish. Semper Femina represents a new way of writing about female identity; written from the perspective of women about women themselves. Placing herself as the observer of sorts, she examines a multitude of female characters, all incredibly life-like in their flaws and vulnerabilities; often using their restless inhibitions as a vehicle to express her own uncertainties about femininity and desire.

From close bonds to estranged ones, it’s an album that explores the complex relationships between women from a variety of well-crafted access points; while the reverb-soaked lament ‘Always This Way’ mourns a friendship unceremoniously cut short, the lilting finger-picked ballad ‘Nouel’ is glowing with affection for its subject. “I do well to serve Nouel, whatever service I may be,” she sings over its gorgeous melodies, “fickle and changeable, weighing down on me” in a reference to the album’s title. Channelling her own feelings through the personification of Noeul, it’s perhaps the one track that sits most in line with her earlier material; revisiting her folky charm with a graceful air of defiance.

Full of the sharp lyrical observations that have informed her entire career, the album is magnetic in its balance of folksy familiarity and sonic exploration. In the same way that Marling offers a fluid take on the female condition through her evocative and complex lyricism, the album is deeply layered and textured in its composition thanks to new producer Blake Mills (Conor Oberst, Sky Ferreira). Opening track ‘Soothing’ is perhaps her most experimental offering with its jazz-fuelled basslines and tribal beats; her stunning vocal performance simmering with tension over the track.

Marking another subtle progression in sound, Semper Femina finds her sounding more self-assured than ever thanks to striking arrangements such as ‘Wild Fire’ and ‘Nothing Not Nearly’. On the former she is particularly combative, soulfully singing “you always say you love me most when I don’t know I’m being seen / well, maybe one day when God takes me away I’ll understand what the fuck that means” over a warm backdrop of acoustic guitar and electronic piano. Meanwhile, the latter is a restless and indecisive affair which flourishes with heavy doses of distortion and bold guitar lines; leaving you with a sense of optimism as she proclaims that “nothing matters more than love”. A songwriter with the breathtaking articulation of Laura Marling does not need to experiment but the new lush arrangements effectively lend a greater weight to her work.

On her sixth album, Laura Marling has produced a beautifully intimate yet complex portrait of womanhood in the 21^st century. Political without being polemic, it’s an album that feels all the more significant in today’s uncertain world; told from a deeply personal perspective while feeling instantly relatable at the same time. Despite all of her growth over the past decade however, it is still the most foundational elements of her songcraft that continue to blow listeners away; her inimitable vocals and quick-witted lyricism once again proving a stunning combination.

Confirming her status as one of the UK’s finest songwriters, Semper Femina poses a lot of deep questions without providing any easy answers; resulting in one of her most profound, compelling and accomplished records to date. Laura Marling may not be ‘fickle’ but she is certainly changeable.