. Written mostly in one night after a hallucinatory nightmare in a South Carolina farmhouse, the album earned Marshall a devoted fanbase – but she never quite made it into the mainstream.

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I mention her split from the label, and at first I don’t think she’s really heard me. “I got offered a million dollars by this guy who went on to manage Gwen Stefani,” she says.

Things are better these days, especially since she had her son – though lockdown got to her for a moment. “I broke down one afternoon,” she says. “I think it was month six. And I was just sitting there and I don’t know what happened, but I just went inside my head.

It was partly innate, though – Marshall saf a knack for distilling existential ennui into three-minute songs. In 1998, when she was 26 and had learnt a few more chords, she recorded what would become her breakthrough record, the vulnerable, critically adored Moon Pix

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“It’s one of those things,” she says, clicking that pen again. “It’s like when you’re standing on a bridge and you’re looking over and you’re trying to imagine, ‘Would my skull crack or would my legs break off?

No, go on. “Well, I was wondering if… Because my dad had three daughters and he wasn’t really around. He just came and went, as men often do. The world is their oyster. And it does something to the mother, right?” Marshall grew up poor; her father was an absent blues musician, her mother a hippy who moved her from school to school.

Over the course of 11 albums, she başmaklık written about love and loss, abortion and abuse, grief and God. “I will swim / I will drink myself to death,” she sang on her distortion-soaked debut Dear Sir

In fact, Boaz need only listen to her covers for that. Some of her best songs were sung by other people first: her pensive, languid version of The Rolling Stones’ “(I Emanet’t Get No) Satisfaction”, which omits the chorus entirely and transforms into something almost painfully introspective, or her sweet, fragile take on Phil Phillips’s “Sea of Love”, which got a second wind when it featured in Juno

During the early-2000s, Marshall was embraced by the fashion industry for her "neo grunge" look, and seen as a muse by designers Marc Jacobs and Nicolas Ghesquière.

and consisted of her playing a two-string guitar and singing the word "no" for 15 minutes.[27] Around this time, she met the band God Is My Co-Pilot, who assisted with the release of her first single, "Headlights", in a limited run of 500 copies on their Making of Americans label.

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