More about: Maximo Park

Maximo Park delighted fans last Friday with the release of their seventh studio album Nature Always Wins. Recorded against the backdrop of a worldwide pandemic and the departure of founding member and keyboardist Lukas Wooller the trio nevertheless returned with a juggernaut, brimming with all the vigour and rumination that first propelled them into our hearts back in 2015.

But there was a noticeable elevation of introspection and intimacy on Nature Always Wins that we haven’t seen before, with frontman Paul Smith, now a father, detailing the anxieties and emotions associated with the newfound responsibility.

In lights of the record’s release, we caught up with Paul Smith and guitarist Duncan Lloyd to not only get the lowdown on the new record but talk about the secret to their longevity - and how fatherhood has taken its toll.

Gigwise: Was the prospect of releasing a new album during lockdown a daunting one, or did the events of the last year make it more important for you to get something out there and give people some joy in such a dark time?

Duncan Lloyd: We started working on the album towards the end of 2019 but the virus and lockdown hit just as preparations were being made to record with producer Ben Allen in Atlanta. We then had a rethink about how we might make the record and if it was possible to do things remotely. Ben still wanted to be on board so we thought 'why not? Let’s give this a go'. In some ways it was challenging, mainly because we couldn’t play in the same space but in other ways it’s been eye-opening knowing that it is possible to make a record under these circumstances and the result still feels like a strong, cohesive record.

We had originally planned to release a new album this year but I think it’s been made special purely from the reaction we’ve had from the first singles along with receiving messages that it has raised spirits. Hopefully it will continue to help people who enjoy our music through a particularly tough time.

GW: How different was the writing and recording process for Nature Always Wins compared with previous records? Not only in terms of logistics but with the fact that band dynamics had changed and you were all at different stages in your lives.

DL: For the band itself, the biggest change was that our keyboard player, Lukas, emigrated to Australia after getting married. On one hand we were seeing a friend and fellow musician leave but on the other hand we had to look at the positives - the space that it opened up - the way that we could utilise that and go about things in a new manner. To some degree that space has become key to the way we have been able to progress. The logistical challenges were initially a little daunting but have ended up broadening our scope. 

Personally speaking, the flexibility of being able to work from home at any time of day or night meant there was more room for musical experimentation and that also allowed me time to keep the keyboard elements of our sound intact for example.

Early on we had asked Ben Allen if he’d like to become part of the band for the album as we wanted there to be an openness and creative freedom about the sessions, not getting too precious with the parts. So it was fun to have him and sound engineer Annie Leeth add extra parts and ideas into what we were creating.

GW: You’ve always had an innate ability to make music that says something and speaks to people but is also infectious; you openly describe yourselves as a pop band which is incredibly refreshing when some see it as criticism. Do you think that has something to do with why you’re still so loved and stood the test of time: because there’s no pretension?

Paul Sm: Maybe! I think our audience enjoys the music on that basic level of strong, catchy melody and emotion combined with the cerebral side - something more thoughtful or reflective. Listeners can be swayed by one or the other of those sides, and they're always present in our songs. 

Even something like 'Child Of The Flatlands' on the new record has lyrics people can understand alongside more adventurous poetic language. Musically, it has a looser, unusual structure, and a vaguely psychedelic feel, but also moments of beauty, a rhythmic rock'n'roll propulsion, and lots of hooks. If people key into both sides of the band simultaneously, like I do when I listen to bands like The Go-Betweens, Prefab Sprout or, even Joni Mitchell, that's the ideal scenario for me. 

In summary: just give in to the pop melodies!

GW: It feels like this is one of your most personal records, especially for you Paul – writing about things you didn’t think you’d ever be able to put in a song such as the death of your old merch guy Nick Alexander in the Bataclan attacks on ‘Why Must a Building Burn’ and becoming a father – did it feel quite liberating immortilsing difficult experiences into songs? And does it make the release more nerve wracking because of that?

PS: I'm more relaxed about the reception than ever, since I've experienced many different responses to our music over the years - not all favourable! I'm comfortable in the knowledge that I've done my best in trying to find a balance between the personal and the universal, which is my goal for each of our songs, ultimately. 

That said, I still worry that the songs will be misinterpreted or ignored, and so I am still anxious about the process. I wasn't sure if I'd be able to write about being a parent because it's easy to be sentimental, and our band is always wary of clichés. After the writing process, I worried it was too negative! 

In the end, a lot of the songs are about overcoming a struggle, whether it's personal or political, so I think the empathy and hope they contain are a positive aspect for the listener. I've always been personal in the lyrics, whether they address heartbreak, love or social circumstances, so I often feel that sense of catharsis or liberation when I sing. But, yes, there's something especially touching to me, and hopefully others (including Dunc and Tom who already had kids!), where the new album is concerned.

GW: Becoming a father must give you a new perspective on life – how profoud has that been for you? You must feel a huge responsibility, especially given everything going on in the world, to give your children the best future, educate them and essentially ensure they’re happy and healthy?

PS: Absolutely, on all counts! My life has changed massively, and I've had to adapt the way I live accordingly, which I was expecting. But nothing can prepare someone for the reality - the sheer responsibility - of parenthood. 

There's a line in 'Versions Of You' that sums it up, where I sing "you have gifted me responsibility". My daughter is someone who I feel grateful for each day. But of course it's difficult - in the song 'Ardour', I say "this ardour is arduous", but you have to work at any relationship you love, otherwise it suffers. Hopefully, sentiments like that can make the songs accessible to any listener, parent or not. We all worry for the future, especially given the way we've treated the planet, so I hope my daughter can be a positive force in the future, whatever that may mean!

GW: You touch on the topic of accepting the ageing process in ‘Partly of My Making’ which is rarely talked about; is this something that amplifies when you become a father? And on a more literal note, is being in a band and touring harder the older you get? We’ve come to expect such physically energetic high octane sets from you, will they continue along with the scissor kicks?! 

PS: I'm knackered, frankly - I've aged a lot since my daughter was born! After a couple of years of intense touring when we first started out, I tried to look after myself on tour, so hopefully I will still be an energetic frontperson for years to come! I've always said I'd do whatever came naturally on stage, whether it's jumping around or exaggerating daft moves for those at the back of a crowd. Our songs are quite intense and very emotional, so there are certain requirements to perform them, in my opinion. As long as I feel the audience understand the songs, and are entertained (which many 'serious' performers shy away from admitting), then I'll be happy. We've tried to age gracefully, but rock'n'roll gives performers like Iggy Pop an excuse to give it everything they've got, and that youthful vim is part of the power of music - long may that continue. 

We've always tried to address topics that are potentially 'uncool' or uncommon in pop songs - the magic and romance of so-called 'ordinary' life is what makes up my lyrical world. There's a truth and honesty to it that will only make the songs more resonant if it's done well. The funny part of singing about ageing is that the songs are still brimming with energy, thus creating a nice friction with the lyrics, which is a trait of much of our best work.

GW: It feels like Maximo Park have always been one of those bands that have naturally evolved – you go off and do your own things but ultimately return to the band, is that a conscious decision or just how things have worked out? How difficult is that in reality; to sustain the band and ensure you’re able to come back to it in terms of record deals and the like?

DL: It is a conscious decision. Being in a band is rewarding but can also be pretty intense, you have to remain open-minded and respectful to the other members yet also know when to fight your corner or go with something that isn’t necessarily comfortable at first, for example. Saying this, having the freedom to move between the band setting and other projects has certainly benefitted all of us. I think we all agree that doing one thing constantly would most likely lead to us being less productive & that can potentially lead to frictions.

Ultimately, having some headspace helps you to come back to it with the vitality it needs. You can’t really go in light with a Maximo Park album: there’s an all in, foot to the floor mentality once we’ve decided we’re making a new thing. 

Generally, we have been quite lucky with record label support from the start. Although there have been some hairy times where we’ve been without a deal, they’ve fortunately come together at the last minute.

GW: How has this year and everything the music industry and live sector is going through affected you? What advice would you give to a fledgling band right now who see the lack of support currently being given to artists?

DL: Even without the pandemic things seem very shaky when it comes to the music industry. There are difficulties with streaming for musicians and that’s only just becoming okay to talk about for some reason. The most worrying thing is the government’s handling and basic misunderstanding of how everyone who works within music survives. Their Brexit deal currently hits musicians in the last place they thought safe to make a living - touring. If visas and moving equipment costs more money in order to put on even a mid-sized show in Europe then it just won’t be possible for many. This is going to be a time where we all need to band together and not just be seen as a thorn in the side of this government if we’re going to get the changes we need to survive.

On the plus side, there are so many more ways for people to discover music and there are many people out there who work really hard to keep music an essential part of our culture and lives so as long as the will and support is strong, there is hope.

Away from the potential pitfalls and issues that you may face, if you’re just starting out in music then that is a great thing. People will always want music in their lives and as a musician you’ll be part of that essential thing. Sharing your ideas with musicians and listeners alike is one of the most rewarding things you can do. In terms of the industry, you can find ways you can make it work if it’s what you want and I think things can work better for all of us in the music community if we increase the pressure on the powers that be.

Nature Always Wins is out now. See Maximo Park play live this Saturday (6 March). Tickets here.

More about: Maximo Park