Hey Matt Corby, how’s your year been?
It’s been good, me and my partner had a baby which has been fairly time consuming.
Thanks, on top of that I’ve been making a record so with those two things combined it’s been fairly full on.
Speaking of the record, you’ve listed Willy Wonka as an influence. Are you able to elaborate more on that?
I think when I started writing and recording in the studio, for some reason it was brought up as a reference when writing one of the first tracks. I was writing the melodies to it and at the time I thought it felt very Willy Wonka-ery, I wanted the track to be a bit more creepy, mysterious and magical sounding rather than bluesy or too soulful.
After that me and Dann Hume really liked the reference, plus I think it carries a really strong aesthetic, the music and the visuals from the original film are hauntingly beautiful and we just used it as a way to pull us out of a funk if were ever stuck. When it came to creative direction we would just keep asking ourselves ‘is it Willy Wonka-ery enough?’ and if not, let’s try to find a way to make it more Willy Wonka-ery.
And for some reason we just both knew what that meant.
You recorded a lot of this record in your own home, did it change the writing process in any way?
Yeah there’s a lot less pressure and you have no time restraint, well other than doing dad duties. It’s allowed me to go down late at night and be able to edit some things or listen back to stuff and work on any additional melodies. It’s been a lot easier to chip away at something.
When you’re recording at more legitimate studios, you’re forking out a lot more money and under a lot more pressure to get it right. If you fuck up the foundations of the recording, the whole songs fucked.
The process can feel really rushed, or feel as if you’re half-arsing a job that definitely shouldn’t be half arsed and I realised that when I work from home because I can be really meticulous about stuff and really try and understand what I’m doing before I do it.
Talking earlier of fatherhood, has being a dad also changed your perspective when it comes to writing?
Yeah, your whole perspective on life shifts a lot when you have a kid. You start to live vicariously through a new life form but at the same time reflect on what it was like to be a kid and what your parents were like and now the fact you’re in their shoes. This whole cycle gives me a really positive disposition but also puts a bit of fear in me, but like a nice fear because it comes from really caring for someone.
With the music, I think I’m having more fun since little Hugh’s been around, just because I want that for him too. Whereas before I had many years where I was pretty serious about stuff and probably didn’t enjoy life as much as I should have because I was too preoccupied with my own bullshit, so it’s nice to have this fresh life as something to almost live through.
I think there’s also more of a separation between my own personal identity and music, just because there’s something that I now care about more than music. Music was such a main thing for me, I spent most of my time in one form or another writing or playing or trying to learn new little things and that can drive you insane if you don’t have something else to take your mind off it and stop you from being completely consumed by it constantly.
Sometimes being a dad can be hard, so it’s nice to have this as something to come back to as opposed to being consumed by it and having it hang over me all the time.
Matt Corby, what are some of the records you love to ramble on about?
Oh man there’s so much, there’s Basement Séance by Dirty Art Club, there’s couple of songs on there called Pulp and What If that are just the sickest little jams. There’s an artist called Trapo and the albums called Oil Change and that’s fucking sick too. There’s a band called The Babe Rainbow who are Australian and their second album called Double Rainbow is well worth a listen.
There’s also a sick Saun and Starr track called Hot Shot, it’s so cool.