Walking through the pristine, gargantuan head offices of Sony Music in High Street Kensington, the first thing I think (after getting inevitably lost on the third floor) is that this isn't the place you would expect to see Lissie.

Ok, I mean she's obviously signed to Columbia (which is owned by Sony) so it isn't exactly a vast stretch of the imagination, but one can't help but feel her independent mentality doesn't quite make her the type of act that would usually call a major label their home. Of course, when you look into her story, it all kind of makes sense. The now 31-year-old Elisabeth Corrin Maurus first made waves in the American Folk scene back in 2006, steadily building a buzz with a string of EPs, which in turn lead to a critically acclaimed debut album Catching A Tiger in 2010. It was a record that saw her make the jump onto the UK radar, touring with 'bezzie mate' Ellie Goulding and establishing herself as a staple on the European festival circuit.

Three years can be a long time 'out of the game' as it were, particularly for an artist like Lissie whose success was backed by so many on her arrival, a point which no doubt makes her long awaited follow up Back To Forever an undeniably important release. I walk into a conference room to find the singer surrounded by vinyl copies of the record (originally due for release that very day) frantically signing her name, a scribbly heart appearing above each signature, "These are all for the pledge music people" she says quickly, "There's also little wooden boxes and pouches made by my friends, but I haven't actually seen those with my stamp on yet." For those who don't know, Pledge music is a release method based around fans paying more money for exclusive content and limited extras (merchandise etc), a system that many artists are embracing to counteract declining record sales. "Is this to bring you closer to your fans then?" I ask, "or more a way to get people onside again after being away for so long?"

"In August 2011 I sort of went off the road to make a record, but I wouldn't have guessed that I wouldn't actually record it until September 2012, and release it in October 2013" she laughs, her hands now clasped, "So it's been a long process of just getting the songs to sound 100% how I wanted them to, whilst also trying to capture the feel of our live shows, as that's what people have started to know us for." There's no denying this record is a departure from the romanticised folky nature of her debut, and instead sees Maurus embrace a wider range of influences, along with the talents of a full band rather than solo songwriting foundations alone. "Looking at ourselves now I definitely see us as a band rather than just myself as a solo artist" she ponders, "and I just think I know more now than I did on the first record, both instrumentally and in a studio sense, there's definitely more of an edge to Back To Forever."

Despite the charm of an artist exploring new directions, changing up the winning formula too much can naturally elude some, and one can't overlook the media attention that Lissie's vast change of subject matter on this record has attracted. From 'Mountaintop Removal', a ballad that questions the environmental implications of blowing off the top of mountains for coal mining, to 'Shameless', which brings her disillusion with fame to the floor. The latter has unsurprisingly been the most talked about track in the build up to the album so far. "I guess it's more about not understanding the industry as a whole, and feeling rejected as I don't understand the politics of it all nowadays." As we continue it becomes overwhelmingly apparent that Lissie is expressing herself in ways she couldn't before, both on record and in person, and 'second album syndrome' has definitely worked in her favour in that respect, with less to prove this time around. "I definitely don't think Catching A Tiger was so over the top successful that it's boxed me in, and I still feel I have so much further to go and I've got room to top it, there are obviously still songs about romance on this record though" she says justly.

After building a fan base in the folk world, traipsing into 80's inspired alternative pop was no doubt a bold move (even if it was a somewhat conscious development over EP's and live shows since her debut), yet it's obvious she wants to broaden her horizons, and this record is no doubt an attempt to distance herself from uniformity. "I think for better or for worse, my process is based on doing what just feels right, and not being held back by the idea that I'm supposed to be playing folk music or wearing belle bottoms," she laughs, then continues: "I'm the type of person who can turn up and play a gig with a leather jacket and electric guitars, but will still go out in the woods and camp naked or something."

Lissie puts this unafraid mindset down to her explosive personality, and the idea that she can fully embrace all aspects of her mentality this time around, not bound by the pressures an artist has of making an openly accessible debut. "I'm a bit of a hippy, I'm kind of edgy, I'm kind of a big old nerd, like any person I'm just complicated, so I just approach any music based on the emotional response something will give me."

"This album definitely has a lot of variety though, and I hope that's not something that confuses people."

Variety is somewhat to be expected though from an artist who places herself in so many different fields, whether it's the cover of Kid Cudi's 'Pursuit Of Happiness' that introduced her to many back in the day, her version of Fleetwood Mac's 'Go Your Own Way' that appeared on a Twinings advert last year, or a slightly unexpected collaboration with Robbie Williams (yeah, that happened). However she seems unphased by the idea of spreading herself too thinly, and instead almost lives by it to bring more diversity to her work: "I stand by the idea that it's good to do lots of different things, If people only like my cover of Kid Cudi's 'Pursuit of Happiness' or something else, then at least they like one thing I'm doing."

One could argue that answer would indicate she still feels the need for some justification, despite her rapidly changing creative viewpoint and increased personal expression in her material. It does however become evident that regardless of the endless free coffee or the swish major label surroundings, Lissie still embodies the grassroots mindset she built her career on, and that won't be changing anytime soon. "We're actually staying in a dorm (hostel) right now because we don't have enough money for a hotel, so if people like my music they really need to buy the record so I don't become homeless (laughs)."

Fans (or good samaritans) can buy Lissie's Back To Forever on October 14th.