Climb Every Wall
is accompanied by a music video shot and edited by Tamsin Topolski
and Mora Laming
Marling elaborates on the song's origin:
"I'd watched a film called 'The Perverts Guide to Ideology' about how ideology is woven into Hollywood cinema, and there was a bit about how in Communist countries they cut out the song "Climb Every Mountain" from the 'Sound of Music' because it's too much of a personal, individualistic ideology, so that's where I got the title."
"I spent hours trying to find a bassline that would work. It was a real headache.
"Then when I got it, I just loved it and I made my girlfriend come downstairs and dance in the room for about an hour."
Half cute, half dark and creepy, the songs Marling and Lindsay create as Lump are unlike anything from either of their respective other projects.
Marling's lyrics are spontaneous, immediate, and playful (she drew heavily on her interest in psychoanalysis).
Meanwhile Lindsay creates an accessible electronic palette that borders on psychedelic.
Animal was recorded at Lindsay's home studio in Margate, Kent and primarily constructed around his Eventide H949 Harmonizer, the same pitch-shifter David Bowie used on Low.
"Lump is so the repository for so many things that I've had in my mind and just don't fit anywhere in that way," Marling explains.
"They don't have to totally make narrative sense, but weirdly they end up making narrative sense in some way."
The project became something liberating and distinct; she adds:
"It became a very different thing about escaping a persona that has become a burden to me in some way. It was like putting on a superhero costume."
"There's a little bit of a theme of hedonism on the album, of desires running wild.
"We created Lump as a sort of persona and an idea and a creature.
"Through Lump we find our inner animal, and through that animal we travel into a parallel universe."