In the very first seconds of Laura Marlings upcoming album, we hear the rustle of distant footsteps.
(Everyone in the world can relate tothat.)
Its all part of my preference as an artistto not be too precious.
Photo: Tamsin Topolski
Of course, Marling is nevertrulylosing her lyrical thread.
I was, like, sending crazy text messages of joy.
So its all of that.
Photo: Tamsin Topolski
Its something of a cliche, but thats what it is, really.
Vogue:Its been four years since we heard from you.
At the beginning of your career, you were releasing albums every year or two like clockwork.
Laura Marling:Well, I like keeping busy.
And Im maybe not very good at relaxing, but obviously thats something different.
Its a combination of that, and also the fact that Im a bit older.
It takes more time to decipher what it is that you are feeling or whats happening to you.
Anyway, we did it.
We got it done.
What was it actually like recording the album at home?
I did most ofSong for Our Daughterat home as well.
Its so fucking handy, because I wouldnt know how to start building a studio.
Its not in my feminine skillset.
So that was good.
And I enjoyed those restrictions, like having to put her on the floor when I was recording.
This is when she was very little, so she couldnt move around.
It was relatively simple, and the outcome is relatively simple.
You said the sound of your own voice started to drive you crazy.
And then perform them forever, presumably.
Yeah, then performing them forever.
We finished in March, so I havent listened to it since then.
I wouldnt want to have that protracted a process again though.
And I love that concerted solitary writing time.
Im sure thats something it’s possible for you to relate to also.
Maybe thats a good thing for me.
I know that you completed your masters in psychoanalysis just before beginning the writing process.
Did that feed into the final form of the album in any way?
But it was good practice for me.
Did it change how you watch a film or listen to an album or read a book?
Look, I am truly basic.
So Im a big TV person.
I used to be a film person, but I just literally dont have time these days.
I still get a lot out of it in that way, but not directly.
Im like a mosquito sucking the blood out of other peoples intelligence in that regard.
But it does feed into my songwriting.
Were those patterns you were thinking about when making the record?
Yes, I was thinking about that.
And I was also thinking about my parents, and parents in general.
But I find the banality of the domestic sphere really interesting.
That also becomes very apparent when your relationship changes after you have a baby.
I found the change in relationship after having a baby amazing and really wonderful, by the way.
Tell me a little more about your decision not to tour the record in a more traditional sense.
Was there anything specific that inspired you to do the parent-child shows?
Its brilliant that youre able to do it on your own terms like that.
Theres so much pressure on musicians to promote records in a very prescribed way.
Do you hope that it can provide an example for others as well?
I do, although there are some caveats to that.
But also, I dont have a lot of ambition.
If I wanted to be a bigger artist, I obviously would have to tour a lot more.
But I dont have a lot of ambition, so I guess Im lucky in that way.
This interview has been edited and condensed for clarity.Patterns in Repeatis due out on October 25.
