Junior Magazine cover story: Gotye, September 2011

A cover story for Junior Magazine‘s September issue. Click on the scanned image for a closer look, or read the article excerpt underneath.

Like Drawing Blood has slowly picked off listeners like fly paper. Over five long years Gotye’s debut LP has seeped into the collective consciousness of an entire generation, and there was little surprise when it popped up in eleventh place on national broadcaster Triple J’s recent ‘Hottest 100 Australian Albums Of All Time’ poll.

“I was a bit blown away,” sighs Wally De Backer, the man behind Gotye, a moniker constructed phonetically from one of his mother’s pet names. “I guess I noticed from the odd sales reports – just from seeing things written around – that people still seem to be sharing it and passing it on. I had this inkling that it could not get in there at all, or maybe could surprise and come in quite high, so I was flattered that it was the latter.”

Oddly enough, that recent recognition of his previous slow-burner is now contributing to the perfect storm surrounding Gotye’s latest record. Making Mirrors was released just last week, but fans and followers have been working themselves into a frenzy for months, not only because of the Triple J result but also stunning single, ‘Somebody I Used To Know’, which in six weeks has tallied a million and a half YouTube views and managed to take out third place in the Vanda & Young Songwriting Competition.

“Yeah, it feels like there’s some real energy there and that people are keen to hear the album,” he says. “Luckily, I’m feeling really good, having turned the last page on it.”

De Backer wasn’t always feeling so good about Making Mirrors. Indeed, it may come as little surprise that such a cerebral artist sometimes finds it hard to distance himself from his own work. Over two and a half years he struggled to piece together his songs, at times hitting what he describes as some of the lowest points of his career.

“I was just sitting there going, ‘Wow. I need to go for a walk. I hate this music. This is fucking shithouse,’” he chuckles. “Even the mastering on the album had to be done two or three times, because the first version to master was way off the mark. I did feel at various times that the whole process of me making music is just inevitably beset by having to get over those big barriers and think, ‘Okay. I didn’t get that right the first time, that’s for sure. But do it again!’”

For the full story, visit Junior Magazine.

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