Billie Marten has a voice that is as comforting as it can be haunting. Set to an album artwork that depicts her in the bathtub; it’s no surprise that her sophomore album is ultimately a relaxant. On Feeding Seahorses By Hand, the young singer/songwriter sings her melancholic lines above strumming acoustic and sliding guitars. One can happily float away to somewhere that you'd certainly wanted to go.

Opening track 'Betsy' brings tight percussion to the forefront, which is unexpected from an artist who previously has had so many songs just her with one instrument. However the track is welcoming and immediately invites the listener to place your emotions on hold and be mindful for a moment. Following track 'Mice' is perfectly simple. Marten sings “sat on a dead man’s bench, the sun cools my neck,” with such delicacy that we are reminded that it is not only her vocals that lead her artistry but also her lyricism. With a chorus melody that is enormously catchy my mind is stained for the many hours following.

Listening to natural breaks in her voice on 'Cartoon People' we are given a glimpse of the enormity of Marten’s range, with a higher chorus similar to previous tracks like 'Heavy Weather'. By this point not only am I relaxed but I’m on Marten’s journey; considering how my own might be similar.

One of the singles released ahead of the album is 'Blue Sea, Red Sea', which comes with an arrangement that is likened to a country track and a place highlighting the similarities of genres. 'Blood Is Blue' allows the singer to enforce vivid imagery of “I’m a slaughtered pig and I’m happy to die,” and “marbles running around my head,” that certainly allow her to paint an emotional image.

Tracks like 'Vanilla Baby' bring Marten back to somewhere we remember her; the simplicity of hearing only her voice and a guitar that is unfaltering and refreshing at the half way point of the album. 'Toulouse' seems nostalgic, as though Marten is singing to an old friend reflecting on the memories of past loves; the hypnotism of the continued rolling percussion on many of the tracks is transfixing.

My favourite track on the record, 'She Dances', moulds a beautifully played electric guitar while Marten rings out, “she howls as she dances.” This treading beat is slighter and adds to the calmness that we retain but with more drive on tracks like 'Boxes'. This is a bolder development from Marten and is welcomed by a fade out that is lined with impressive harmonies.

As we move into the final moments of the album, 'Anda' brings us back around to a reminiscent Marten playing eloquently more or less alone. 'Fish' rounds the album off with a harmony that is conclusive, yet perfectly representative of being on a boat on the ocean and drifting off.

Conclusively, Feeding Seahorses By Hand seems unforgiving in doing what you need it to do. For much of the album it wouldn’t have mattered what was being said as the delivery was so wonderful that you are lost to the sound - but her words are an added bonus. Marten’s voice is unfaltered and just as soothing as it appeared on her first album; all that has changed is an artist who has certainly matured in her sound, but was already wise enough in her words.