‘Innocent Dread’ feels like it exists in that liminal space between daydream and dread. Can you talk us through the emotional core of the song—what was going through your head when you wrote it?

“Innocent Dread” is a swirling blend of psychedelic textures, soft rock grooves, and bluesy undertones that explores the quiet tension of escapism. With haunting melodies and introspective lyrics, the track captures the feeling of burying your head in the sand, pretending everything’s fine while the storm brews beneath the surface. It's a sonic daydream for listeners who find beauty in melancholy and resonance in avoiding the inevitable. Perfect for late-night drives, smoke-filled rooms, or moments of reflective solitude.

There’s a strong sense of escapism in the lyrics—burying your head in the sand while the storm brews. Was there a particular moment or experience that triggered that narrative?

Conceptually, my entire upcoming album ‘The Magical Speckled Band’ delves into these complexities of the human condition, especially the idea of escapism explored through a surrealistic lens. Themes of escapism run throughout, often as a response to the weight of reality, the emotional weight of urban life, the slow grinding pressure of capitalism and the daily hustle of city living. Alongside, the album contemplates life beyond death, drawing on the idea of reincarnation as both a spiritual curiosity and a metaphor for transformation and renewal. This theme of escapism manifests in dreamlike lyrics and surreal sonic landscapes. ‘Innocent Dread’ explores this concept of escapism focusing on a more dark and introspective side with the idea of escaping from oneself and how tuning out of reality can have repercussions.

Sonically, ‘Innocent Dread’ blends bluesy undertones, soft rock grooves, and psychedelic textures. How intentional was that fusion, and what kind of headspace were you trying to create?

The overarching sound feels quite personal and distinct, I didn’t set out to sound like anything particularly, ‘Innocent Dread’ is more of an expression of myself and happened to have those certain qualities. Although ‘Innocent Dread’ has come from an introspective personal place, my musical taste has definitely subconsciously had influence on the tone qualities and production of my songs. I am heavily inspired by the 1960s British folk revival and psychedelic artist. I am a devoted vinyl enthusiast so listening to lots of music and reading Electric Eden by Rob Young really opened a world of sounds and philosophies that deeply resonated with me. Artists like Nick Drake, The Incredible String Band, Syd Barrett, and Fairport Convention were major touchstones. But I was also drawing from the early rock 'n' roll charm of Buddy Holly and Fats Domino, and the more obscure, mystical artists like Mark Fry, Trader Horne, Gary Higgins, Bread Love and Dreams, Fresh Maggots and These Trails.

There’s also a bit of a contemporary thread running through the album. Artists like Jessica Pratt, Marlon Williams and Leah Senior have all inspired me in how they blend tradition with something more modern and atmospheric. Despite the variety of influences at play, the result is a sound that feels both distinct and authentically personal.

You’ve described the album as “jam-packed with surrealism.” Where does ‘Innocent Dread’ sit within that broader world—does it act as an entry point to those themes?

As mentioned earlier, my upcoming album ‘The Magical Speckled Band’ has a core theme of escapism explored through a surrealistic lens. Use of surreal metaphors within the lyrics like ‘Floating around with your head underground’ help paint this image of escapism on a kaleidoscopic landscape. Instrumentally the use of wavy electric organ blended with twangy guitar, sombre drum rhythms and ethereal vocals creates a psychedelic and surreal sonic landscape.

The single art by Nick Potts really complements the mood. How important are visual aesthetics to your musical releases—do you see the songs as part of a larger, multi-sensory experience?

Collaborating with other artists is something I really value, not just for the creative input, but because it helps build a sense of community with fellow artists. Visual aesthetics, like Nick Potts’ artwork, plays a huge role in shaping how people first connect with a release. The artwork sets the tone and mood before the music even starts, giving listeners a kind of emotional doorway into the world I’m creating. Since much of my inspiration comes from vintage music, especially the psychedelic sounds of the ‘60s, working with Nick was a perfect fit. His style captures that era’s spirit beautifully, adding another layer to the experience. For me, music isn’t just about sound it’s a multi-sensory journey where visuals, mood, and storytelling all come together to create something more immersive.

‘Innocent Dread’ is the first taste of The Magical Speckled Band, an album tackling some big concepts like capitalism, love, and reincarnation. How does this track lay the foundation for the journey ahead?

‘Innocent Dread’ sets the tone for the album by diving straight into the theme of escapism one of the core ideas running throughout The Magical Speckled Band. The track explores the darker, more introspective side of trying to escape from oneself, showing how tuning out of reality can bring its own challenges and consequences. The album grapples with the intricacies of the human experience, highlighting the emotional strain of city life and the unyielding demands of capitalism. Alongside these themes, it explores the idea of life beyond death, using reincarnation as both a spiritual exploration and a symbol of change and renewal. With its dreamy lyrics and otherworldly soundscapes, ‘Innocent Dread’ draws the listener into the delicate balance between confronting reality and seeking escape, laying the emotional and philosophical groundwork for the journey the rest of the album takes you on.

Leading up to the release of The Magical Speckled Band on September 1, Matty Groves will perform at The Cactus Room in Thornbury on September 26, joined by Sarita McHarg and Katia Mestrovic, with lighting by Electric Light Brigade. Headlining the evening, Groves and his seven-piece ensemble will deliver a kaleidoscopic mix of flutes, guitar, saxophone, organ, and more, performing selections from his debut Aurelia alongside new material. Expect a hallucinogenic journey through sound that channels the late ’60s and early ’70s folk revival while offering Groves’ uniquely original musical vision.