Billie Marten is one of the most thoughtful, intelligent and eloquent songwriters making music right now. On her recently released fifth LP, Dog Eared, the British artist writes - and sings - straight from the heart, after a few years on the road honing her craft, and exploring her writing and playing styles.

Working with producer Phil Weinrobe in New York, Billie gathered an ensemble of musicians to help craft the Dog Eared soundscape, including Catalan singer-songwriter Núria Graham, former Dirty Projectors vocalist Maia Friedman, bassist Josh Crumbly, multi-instrumentalist Shahzad Ismaily, virtuosic guitarist Mike Haldeman, indie-rock musician Sam Evian, Brazilian percussionist Mauro Refosco, drummer/multi-instrumentalist Vishal Nayak and contemporary folk multi-instrumentalist Sam Amidon.

On Dog Eared, Marten contemplates the past, the future, the evolution of relationships and her own mortality. We spoke to the musician about stepping into this new chapter:

We really love the album. Tell us about when you felt the album first begin to be born and take motion? What was the catalyst?

Well thank you! The catalyst is constant really, there's always a pull. Since I first started writing I get into stagnation but I also feel moments of extreme inspiration, where it’s a sudden movement. There’s nothing else I can do at that time but write a song. And it’s pretty immediate, making me feel dramatically better by the time it’s written. This one started with Track 1, Feeling. The whole song is about spring cleaning and starting anew. Finding such beauty in someone that it takes you on a whole creative voyage.

It sounds like you really set out with an intention for this album to be different to what you’ve previously released. In your words, what was your intention and purpose with this record?

The intention was to create without inhibition, without pointing towards a genre. Without a certain goal but knowing it had to be different to the last. I’m so happy with my previous work but as an artist you’re always searching, searching for newness. Searching for relief. I knew I needed an army of talented strangers for this one though, and Phil was the perfect provider.

How did Phil help shape your sonic world? What did he teach you through this process?

He taught me that the record really isn’t about me at all. He taught me to relinquish all control when making something. He taught me to trust another person entirely. These are all large things! Large things to get over. But I love getting over myself - making records is really a very simple and unconvoluted process, so you have to tell your brain that. Phil is also supremely good at hearing individual textures and layering them together perfectly. If there’s a hole in the fabric, he’ll know about it and find the perfect patch.

Where did you create most of the record? Where did you write a lot of these lyrics? Were there special places that allowed you to be more vulnerable than you’ve been before or was it more so a state of mind?

Most of it was done at my kitchen table at home. Moments I get alone are rare so some of these songs were written in between moments of travel. In fact the only song that wasn’t written at home was because I was in Tulsa, OK for the week, and I had a big old hotel window to look out of, and a friendly bar to go to (which was the inspiration).

Is there a song you’re particularly proud of on the album?

I’m proud of Goodnight Moon because of how easily that song poured out. The lyrics were pretty instant which means they’re true. I love the purple texture of how the recording turned out, I love the breathy sax and soft synths. The same for Leap Year, that one song became a whole warm world and it makes me feel nice when I’m in it.

How did you know when the album was finished? Did you intuitively know or did it take a lot to stick to 10 tracks?

I’ve always wanted to make a 10 track album. I think that’s the way it should be. 10 tracks from now on I reckon. It feels so pleasing to me and it’s much easier to provide an album curve if you know how many there are going to be. Also you can cut off the album fat, and keep those less good things hidden.

Tell us about the visuals! We love the album cover, too. What did you want to evoke through the visuals for this chapter? What was on your moodboard?

Thanks, I love them too. There were a number of very talented visual collaborators for this:

The painting itself was done by an incredible artist called Daniel Borgonovi - he’s based in Ireland but is Brazilian and has this amazing vibrancy to his colour palette. I knew he was going to paint the album cover and luckily this was basically his first draft, so the process was very intuitive. Check out his prints he’s selling on Instagram.

For photos, that's Frances Carter, whom I met while I was doing a few shows in NZ for the first time. She came highly recommended and again the shoot was natural and simple, done at the batch I was staying in on Piha Beach. I wanted simplicity and understated-ness and that’s what we got.

For video, it’s Sports Team (not to be confused with the lovely band Sports Team). Callum and Annabel were a shining light on our trip there. They have incredible minds. We made two videos in the space of a few days. They introduced me to Titan, who’s the very famous horse I’m riding in the video for Leap Year. A truly laid back, pure and ideal experience.

I knew I wanted vibrance, nothing too muted or quiet, but nothing too modern either. And I guess that came from the collaborators themselves. A rare gift to have worked with them.

Who are some artists that acted like north stars for you in the last couple of years? Were there any you were subconsciously thinking of or looking to for inspiration just in the way they have navigated their own careers?

Diane Cluck, Fiona Apple, Joanna Newsom, Leslie Feist, Gillian Welch, Mark Kosalek. People who’s creative compass and careers I am very envious of. People who seem to exist without context. People who don’t follow anyone else.

What’s something you’re passionate about right now, aside from music? Something you’d like to use your platform for?

I’m passionate about saving the planet and living in a world where corporate companies make the right choice for the environment. I’m a recent ambassador of Better Planet Education which helps to educate young kids on climate change and the world’s progress towards reversing that. I’m passionate about the push towards all things second hand; books, music, furniture, clothing, and how touring can be done more sustainably.

What’s next?

Endless shows! I’ll be touring again from September to the end of the year, which is a true pleasure. I’m also maybe sculpting some sort of book, but who isn’t.

Listen to Dog Eared HERE.

@billiemarten