The Horse Bone Musician: Matthew Herbert's Musical Odyssey

It was a remarkable privilege for Hoofpick to have the opportunity to engage in an exclusive interview with the acclaimed artist and musician, Matthew Herbert. With a diverse portfolio that spans music, film, television, and more, Herbert's innovative approach to creativity has garnered widespread recognition and admiration. In this candid conversation, we delved into the profound inspiration behind his latest album, "The Horse," which explores the fascinating connection between man and horse, and the unique process of crafting musical instruments from a horse skeleton. Matthew Herbert's insights offer a glimpse into the intricate world of an artist whose work consistently pushes boundaries and defies conventional artistic norms, making this interview a unique opportunity to explore the depths of his creative journey.

Hoofpick: Can you share the inspiration behind your latest album, "The Horse," and how the idea to use a horse skeleton to craft instruments came about?

Matthew: It was all a bit by accident. I knew I wanted to make a record with a skeleton, so when a horse skeleton came up on eBay, I jumped at it. Afterward, I regretted it when all the boxes showed up at my studio, but soon I became fascinated with the history of the horse and its relationship to humans. I've since developed a real love and affinity with the horse.

Hoofpick: Your collaboration with Academy Award-winning director Sebastian Lelio for the short film "The Rider" is intriguing. How did this partnership come about, and how do you feel the film complements the music in conveying the essence of the album?

Matthew: I'm lucky to have worked with Sebastian on a number of films now, including "A Fantastic Woman," the one he won the Oscar for. He used to listen to records I made during the '90s and '00s and got in touch 15 years later. It was a real privilege for me to have him make a short film for me, and it was he who chose to portray the doma india techniques in Argentina. I think he's produced something extraordinary, certainly something I've never seen before. It made me change how I thought about horses' personalities and their bodies.

Hoofpick: The film "The Rider" explores the profound connection between man and horse. How do you see your music and this film capturing the essence of this unique bond, and what do you hope listeners and viewers take away from it?

Matthew: At the point in the album that the rider appears, it is about freedom. What's special about the film is that it shows the horse and the man surrendering to each other. Even if we can't do all his techniques, this feels like a template for a different kind of relationship with animals.

Hoofpick: You've mentioned your deep respect and love for horses. How did your personal feelings toward these animals shape the creative process behind "The Horse" album?

Matthew: Throughout the record, whenever I got stuck, I thought, "What would the horse want?" For example, there was one section about the poor treatment of some horses in horse racing where I was putting various horse-related objects in a cement mixer. I went to put some of the bones from my horse's skeleton in there and it felt wrong, disrespectful. The final piece of music on the record, though, is an act of love for a horse—we made a soundscape for the horse to live in, having been resurrected through the record, where we gave it sunshine, a field, some water, and some friends to spend time with.

Hoofpick: Could you discuss any particular challenges you faced during the creation of "The Horse," both in terms of the musical composition and the film collaboration?

Matthew: The whole thing was a challenge from start to finish!

Hoofpick: Your portfolio includes diverse projects across various media. How do you find the transition between working on television, film, video games, and theatre to creating a music album? Do these experiences inform each other?

Matthew: My albums as an artist, such as this one, are really labours of love. 50% of musicians in the UK earn less than £10,000 a year, so despite what it may appear, it isn't a well-remunerated or glamorous living. So I also do film and TV work to pay for my own work.

I'm lucky enough to have worked on some very special films, and I tend to learn something from everyone I work with. That's the joy of collaboration—the humility of learning.

Hoofpick: Could you share your thoughts on performing at prestigious venues like the Edinburgh International Festival, The Barbican, and Elbphilharmonie? How does the venue impact your performance and connection with the audience?

Matthew: There are challenges with the live show both artistically and logistically. Trying to tour with a full-size horse skeleton has significant hurdles, but audiences are fascinated by seeing the bones and trying to work out the anatomy. There's been something magical about making electronic triggers from some of the bones and being able to hear the sounds of horses running towards you when you touch some of these bones. When you see and hear this kind of thing, it transforms the venue into something more spiritual or ritualistic.

Hoofpick: Your approach to music often involves experimentation and pushing boundaries. How do you keep your creativity fresh and innovative over the years? What advice would you give to aspiring artists looking to find their unique musical voice?

Matthew: Don't copy other people.

Hoofpick: You've been nominated for awards such as the BAFTA and Ivor Novello awards. How do these recognitions impact your artistic journey and your drive to explore new avenues in your work?

Matthew: To be honest, you have to ignore them. It's nice to win awards, of course, and I'm grateful for the recognition, but a quest to win one would significantly derail the artistic process. The only thing that can matter is the artistic act. The rest is decoration.

Hoofpick: Lastly, could you share a personal anecdote or moment during the creation of "The Horse" that deeply resonated with you? What impact do you hope this album and its accompanying film will have on listeners and viewers?

Matthew: When I was near the end of the record, someone came onto my land by my studio to do some metal detecting. Within an hour, he had found a Bronze Age horse votive/figure that appears to be an offering to the horse gods. It was a shocking discovery and is the figure you see on the cover of the album. It felt like a sign to keep going somehow. My intention for the project is partly to educate myself but mainly to encourage a healthier, less exploitative relationship with animals, the planet, the world around us. We are in very serious trouble with climate change, and we need to change our lifestyles as a matter of urgency.

Also see Academy award winner directs video of "The Horse"