Matt Winkworth on songwriting, playful cynicism, and why he's 'anti-indie'

In an age of guitar riffs and electro loops, a tinkling piano topped off with a little bit o’ irony is just what the doctor ordered.

Matt Winkworth is melodramatic satire where music is a platform through which he comments on the todays, tomorrows and yester-years with cabaret tendencies, jagged melodies and a slightly acerbic tongue. A dose of Winkworth’s aural creations will remind you of the theatre - even if you’ve never been. It’s piano-led tomfoolery taken with a pinch of salt. 

Ahead of his 2011 Farmfestival slot, Jasmine Phull speaks to Matt Winkworth about touch-typing and the like.

The Finer Points of Being Happy (live) by MattWinkworth

‘Though I tried to die they prescribed me my life’ is a slightly morbid line from Elixir of Youth. It seems a sort of ‘Film Noir’ is a running theme in your songs. Is that a conscious effort?

I don't actually know a great deal about Film Noir, so I wouldn't say that it's a direct influence, although I am interested in Weimar era cabaret and theatre, which I think had some similar ideas and aesthetics behind it. I do consciously attempt to maintain a satirical cynicism in many of my lyrics, without being too insincere, and I do have a relatively dark sense of humour.

You say you perform ‘anti-indie’ songs. Can you explain what you mean by that?

It's really just a tongue-in-cheek term for me to feel rather self-righteous about not being another guitar-driven skinny-jeaned four-piece, singing inaudibly about love over the same four chords. Though admittedly I might just be jealous of those beautiful boys. For the most part I try not to be too indulgent in my writing, but create songs intending to entertain and engage, using humour, narration, and slightly unusual structures. I suppose that the songs could be criticised for these exact same reasons, but I at least hope they are offering something a little bit different.

Did your home of Oxford have a big impact on your musical output?

I make token Alice in Wonderland references, like everyone else in Oxford who wishes they were more literary than they actually are.

Is there a correlation between what you do now and your childhood?

My main interests haven't changed a huge amount, and I still pretty much think that Knightmare is the best TV programme ever devised.

Can you describe your writing process? Do the lyrics come before or after the music?

I find that songwriting (for myself) is quite different from other kinds of composition I do. Mostly I decide the song's concept first, then sit at the piano noodling to find a melody or musical idea. I'll then play these bits over and over, singing nonsense or stream-of-consciousness lyrics over the top, until something sticks, and an idea for the structure becomes apparent. Then I'll fill in the missing lyrics, which can take me ages.

You studied a music degree at Goldsmiths. How advantageous has that been to your music career?

 Music isn't famed for it's vocational application, but I did have a great time at Goldsmiths. It has given me some useful practical skills (in arrangement and studio techniques, for example) and also exposed me to some diverse music. Most importantly it has left me with a lot of inspiring, creative friends, with whom I continue to collaborate musically five years on.

(Finish this sentence) playing the piano is like:

Touch typing.

Why is collaboration better than competition? Or isn’t it?

Much better. I've a passion for theatre, which is an obvious example of an artform where collaboration is essential; taking many different disciplines and mixing them together to create something greater than the sum of its parts. I've also been fortunate to recently begin performing my songs with seven generous musicians – previously it'd just be me at the piano – and because of their talent the songs are elevated to a completely different level. And it's so much more fun performing with friends.

Do you prefer studio time or stage time?

Stage time. At least until the day I can afford to hire a session orchestra.

First album you bought?

I think it was Vanessa Mae's The Violin Player, aged eleven. I was neither rock nor roll.

What effect do you hope your music provokes?

I hope it makes people smile, even if just bemusedly.

Text by: Jasmine Phull

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Catch Matt at FarmFestival 2011. Details and tickets below. 

 

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