“Everyone changes a little between records” : Best Fit speaks to Lone Wolf

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After the phenomenal reception to his third record The Lovers, 2012 didn’t look like it could get much better for singer-songwriter Paul Marshall – better known under his Lone Wolf guise. With a legion of supporters financing the release and production of his new LP via Pledge Music, he was finally able to release a record that was originally very uncertain, on his own label It Never Rains Records.

It was a stunning release, equal parts eggshell-delicate and powerfully emotional; it was glasslike, a vortex of anxiety and inner turmoil. All of these racing thoughts were plucked out of the air and stuffed into The Lovers, a Pandora’s Box of Marshall’s insomniac mind. Marshall tells of his catharsis: “I had an emotional 2012. It was an extremely rewarding, encouraging year, almost like a slap round the face reminding me I can do something if I actually put my mind to it. That’s the only way I can put it. It started bad, but got very good. I got to quit my job, release my own record. I’m not going to ever forget it.”

To promote the album, Marshall played two packed gigs: one in London, and a much-anticipated performance in his home town, Leeds. “The shows were really good, Leeds was full – that was at the Brudenell. London was full too. Really happy with how they went! I spent most of the time in awe of the crowd… I really enjoyed it. It’s been two years since a headline show in Leeds, it felt like a homecoming gig with everyone I’ve ever known.” It was a cosier show, and though Marshall has never been totally relaxed on stage, Leeds was something special. “I don’t play live much. I spend a lot of time thinking it’s like a job interview in front people who decide your future. I’ve never liked that part of it, I’m not comfortable with it. But I love performing. What I don’t like is the feeling of punching yourself in the head because you missed a note.” I’m a perfectionist, always thinking about things too much. Playing Leeds is like playing in front of my parents: it’s comfortable. It’s home.”

But playing new material is not without risk – people might not know the music, for starters. However, for Marshall, it went exceedingly well. But with the calibre of the sounds on The Lovers, how could it not? “I can safely says it’s gone down better than the old stuff. It’s a bit more upbeat, therefore it translates to being played live better than just me and an acoustic guitar singing songs about murder. People can get into a groove while I sing these sad songs. I always noticed, even back on the previous album [The Devil & I], that the new songs were better received!”

Marshall has always used an intensely methodical, but also quite solitary (hence his moniker, Lone Wolf) approach to writing music. “The Lovers was an experiment. With The Devil & I, I spent months demoing absolutely everything, coming up with ideas for strings and things. I demoed it into the ground. I was really inspired by Stalking Horse, a friend who went into a studio with nothing and was ballsy enough to just make an album. I always thought the demo process was where the magic happened, but there was always a tiny bit of me that was unsure when trying to recreate that magic in the studio.” He’s more animated, enthused about the experiment and delighted at the results. It was a challenge and a gamble – one that ultimately proved worthwhile. “So for The Lovers, whenever I had anything that was remotely a song, I recorded it on my iPhone, only little 40-50 second clips. I took them to the studio, sat with my producers and flicked through ideas, and worked on them to make songs. I just bashed it out – either worked or didn’t. The album is like one massive demo. It was nice to let my brain do whatever it wanted to do. But there were lots of casualties, lots of songs that didn’t make it; but then there was stuff like ‘Ghosts Of Holloway’ that just worked straight away.”

Touring with Wild Beasts has had an impact, and Marshall is quick to gush praises. “It’s hard not to learn something when touring with them. I’ve toured with a lot of bands, but when playing the 30-40 shows with Wild Beasts, I watched every single one of the performances. One of the only bands I did that with because they’re fantastic. I soaked up their ideas, what they had the balls to do.” But they haven’t made the only impression on the record. “I was listening to Wild Beasts, but combined with my love of Talk Talk, the spaces between notes and John Carpenter soundtracks – Escape From New York, Halloween 3, all those synth sounds, I decided it was time to wipe out the acoustics and make a synth record. Influences have come from all over, but they’re different from before – one of the reasons for that is so I’m not doing the same thing twice. It doesn’t satisfy my brain.”

There are new additions to Marshall’s record collection too, new inspirations from places he was surprised could exist. “Frank Ocean awoke dormant R&B bones inside of me. It had shit load of hype, but for a good reason. I didn’t know I was capable of liking that kind of music. The Villagers album is great. Look out for the new Hookworms album – it’s psych-noir krautrock, the new album is called Pearl Mystic. It’s already a contender for album of the year.”

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One thing that has remained from before is the downbeat, macabre nature. Before, he described his folkier noises as ‘death-balladry’. “I had a down couple of years before making this record. I went through depression and sleep anxiety – I’d go to bed but lay awake worrying, overthinking, overstressing about something insignificant I said to someone ten years ago – they won’t even remember it. In the end I decided to write everything down. I’d write about everything like two lovers – the brain and the heart. I personified the feelings so it was like a couple arguing in their home. Not necessarily a concept album, but it definitely has a theme – every song is a fight. The last song is the only song sung from perspective of me. I’m thinking ‘Oh shit, here we go again. Am I gonna sleep?’ You’re supposed to press repeat when the album finishes and repeat the cycle of sleep anxiety.”

Marshall is resolute in wanting change, never sticking to the same thing and never repeating himself. But is that a sweeping statement for all music? “It’s all artist dependant. For me personally, I’m not happy unless I play and record and think ‘Ooh, that’s new for me’. I like pushing myself. Change is exceptionally important for me, because you wouldn’t be hearing what I wanted to do otherwise. I made some things in the style of The Devil & I with fingerpicking but they just weren’t right. Everyone changes a little between records. Look at Nick Drake, different in moods and styles but it’s the same one man over three wonderful albums. It depends on personal make-up. I’ve got a lot to prove, to other people and myself. I want to try a hip-hop album before I die!”

True to that philosophy, he’s got a plethora of irons in the fire. Following in the footsteps of Iron Maiden, Frank Turner and Elbow, he’s gone and got himself a nifty little beverage. “The Lovers’ Ale – Revolutions Brewing Company in Leeds made it with me. They were originally doing a series for local musicians, which were going to be different strengths at 3.3%, 4.5% and 7.8% (ABV) after the RPM of vinyl. Luckily I used to work for amazing beer place called Beer Ritz, that served specially imported beers, and I had to really get to know them, so I know my shit about beer – it wasn’t a bad job! So when Revolutions approached me and said they wanted to a beer with me, I was like ‘Right! I want it to be a single hop IPA, strong as shit!’ It was 6.9% (ABV) as a pun for The Lovers. It was made available at the launch shows and in London for a couple of weeks. I kept getting chastised after the shows for getting fans drunk, it was funny. Revolutions make good beer.”

He’s also working on a film, composing the score for Tunisian director Nejib Belkadhi on his latest film Bastardo. “The project came along at perfect time. contacted me from Tunisia on Twitter. He said he used to travel to the set listening to The Devil & I, and I responded and said that I didn’t have time, but thanks anyway. He came back to me and said ‘Fuck you, you’re scoring my film!’ So I thought, ‘Why the Hell not?’ I Skyped him, went along to watch his film in Tunisia, and it was great, it’s a rollercoaster. He made the music video for ‘Ghosts Of Holloway’ for me, for free. He’s a lunatic, but I love him to pieces. Bastardo is out later this year, the soundtrack is dark. The film is dark. I listened to a lot of Spirit Of Eden by Talk Talk, where there’s one note and lots of space. I used piano and cello, there’s a real Brian Eno ambience. I’m really, really, really happy with it.

Writing for film, and writing for yourself are very different. Composing for someone else’s work is a collaborative process which has always been the opposite of what Lone Wolf is, but Marshall dived straight in. “I’ve never had my music put to film before. It’s not like writing an album. Nejib and me were squabbling over things like one second of footage! You can’t be selfish. You can’t turn round and say ‘Here’s my music, deal with it.’ You’ve got to take the director’s feelings into account. There can be discussion, and as a composer you have input, but there are elements of give and take. The director knows what he wants, but you have to be confident he chose you for a reason. He thinks you’re capable. I’m looking to do more film score work. I want to work on film away from Lone Wolf.” So, does this spell the end of Lone Wolf? Does Marshall have a new passion? “I’ve not decided if there will be a new album. Might do something else for a while. I’d like to be in a real band where I’m not the focus, contribute to something for a few years. Maybe I’ll come back after that. I’m not rushing to get out another record. The Lovers is as much as I can offer at the moment.”

And with his schedule apparently already packed, what’s in store for the coming year? “I just played two amazing shows which gave me a lot of enthusiasm. I wasn’t sure about playing live ever again before that. I want to get back on the road, which is completely different from what I was saying two weeks ago! I remember looking in the mirror backstage at Leeds, saying ‘Go out and enjoy yourself, enjoy playing – this isn’t an interview, you’ve got the bloody job!’ And I had the time of my life. If only I could feel like that every night… I’ve been a fool, focusing on negatives and it would be great to tour feeling positive like the past few shows. I want a new booking agent, and to tour Europe, play festivals. I’d also like to get involved with film a bit more. Do some film festivals, travel as a rep for the film, that kind of thing. But I’m completely open. I’m looking forward to working with new people, booking band rehearsals for a new project. The world is Lone Wolf’s oyster!”

The Lovers is available now through It Never Rains Records.