Laura Marling says she's 'managed to resist EDM' on upcoming album 'Short Movie'

Laura Marling has revealed that she's "managed to resist EDM" on her forthcoming electronic album 'Short Movie', adding that the record was inspired by her time in America and her feelings of being "desperately lost in translation".

The singer-songwriter, who's been living in LA for two years, wrote her new album in America at the beginning of 2014. In the new issue of Uncut, she revealed that the record was based on the fear the country induced in her, including the track 'Small Poke', which was written after her experience of Hurricane Sandy in New York and "the horror of being in an enormous metropolis with no power."

"The apocalyptic nature of that must be horrible for everyone involved – but there's a general feeling of fear in America," she said. "Well, America induces this fear in me. It's so vast and so complicated. I feel like I'm here as a weird voyeur, watching it in a really strange way to make sense of it. Like the landscape of the desert, then you go four hours further north and you're in the lush mountainous forests. You feel dwarfed by the country, which I don't think I felt in England. So quite a lot of the record is about that."

She added that though she "wrote the record on electric guitar, I play electric like I do acoustic. It's not gonna be groundbreaking. I've managed to resist the EDM!"

Marling also disclosed that the new record, which is due for release on March 23, is her first to be completed without a producer. The three-way effort between herself, her drummer Matt - who runs Urchin Studios in Hackney, and Dan Cox, also from Urchin, also features Nick Pinki on bass, Tom Fiddle, who played in Noah And The Whale, on strings, and Ruth de Tuberville on Cello.

"One interesting thing in the way we recorded the album was me and Matt did all of the takes, all in a row, then we got the strings in and we did two blind takes with them," she said. "We told them the key and where the chords were going. Then we panned the strings left and right, so they sounded like strange background noise. Then there's a melodic take where they were more accustomed to the songs.

"My idea was to have metallic, urban sound. Living where I've been living, there's always a fucking helicopter, there's always the sound of a city behind you. So I wanted to have that weird background disturbance all the way through the record."