If you're going to have faith in the message you chose to spread, then it takes a little bit of faith in yourself. Matthew Herbert has this in spades, and as his career progresses it has developed as a platform for him to spread his political ideas, develop his music to a purely original sound, and explore music through live performance and film scores.

Herbert was four years old when he started learning the violin, then the piano, continuing until he went to University. He played in orchestras and choirs from the age of seven, and gigging with bands as a keyboard player when 13 years old. His first band was a 25 piece Glen Miller style 1940's big band, and he loved the idea of making so much noise with no amplification. He starting touring at 16, when his school orchestra did a tour of Sweden and he experienced his first taste of live playing music abroad.

It's not just Herbert's classic music training that have distinguished him from the pack. Another strong influence in his style development is undoubtedly his Father, who was a sound engineer at the BBC for 30 years, and always surrounded himself with technology. His parents indulged his creative interests and helped him towards accumulating equipment, so that by the time Herbert reached university he had a small home studio.

A final piece of the puzzle falls into place. Herbert chose to study drama when he attended Exeter University, following a desire to create his own music without having to study composition in the traditional way. His Personal Contract for the Composition Of Music (P.C.C.O.M.) manifesto could not be further from his peers as a methodology for making music, with its strict rules such as no drum machines, and strict forbidding of sampling of other people's music.

Matthew Herbert has created a huge wealth of music, covering many different styles, under his own name and the monikers Herbert, Wishmountain, Doctor Rockit, Radio Boy, and Matthew Herbert Big Band. Different names for different moods and much of it released on his own label, Accidental Records Ltd. In 2004 he premiered his forthcoming album, 'Plat Du Jour', live in London, Paris and Istanbul. Both the album and the live show articulate Herbert's vehement belief that music must both inform and entertain.

Will we be seeing you DJing when you come to Melbourne or will we get a live set? Which do you prefer doing?
It will be me and some records. A live show is best because you are forced to stand beside your work.

When you DJ which artists are you currently playing beside your own productions? Do you try to satisfy all your fans by throwing in some old Dr Rockit with some housey Herbert songs?
I am leaning increasingly towards the wonky, although these records are harder to find. It would be mean of me to not play one or two of my own records.

Can you give us an idea of what the forthcoming Plat Du Jour album is about? How do lentils, Tesco's and created sounds come together for a statement through music?
It is about the politics of food production, distribution and consumption. Every detail of it has been researched, recorded and will be then re-presented as music. The failure to provide clean water to vast parts of the world's population whilst others are drinking branded water strikes me as pretty grim. Thus one of the tracks will be made just out of bottled, branded water. The rest of the album follows suit.

Do you have any trouble sticking to the rules of PCCOM when you're composing, or is it now a way of life for you in the studio?
It is very much a logical and easy process to do by now. When writing a track about coffee, it is much easier to stick to using the sounds of jars and beans than trying to create a synth patch to express the sonic qualities of an espresso.

Do the rules of P.C.C.O.M. make doing remixes a challenging project?
I don't do every remix according to the rules, but if I get enough raw material sent through, I try to only use only these original noises. It can be a challenge, but then I'm not a believer that in music we should always take the easy route.

With much of your music made from incidental sounds you've created or background noises recorded, do you ever make sounds out of the human voice or is it reserved for singing lyrics?
Regularly.

Have you got a favourite song or composition out of all the music you have ever made?
I sometimes like 'The Puzzle' on a Tresor compilation, but generally I am most happy with what I am working on at the moment as I can still change things.

With fingers in so many pies as producer, label boss, film music composer and more, which of these jobs comes first in terms of making a living and following your passions?
I am very lucky to have my living and my passion as the same thing. It makes it to easier work harder.

You're not afraid to state your political views strongly in your music and performance now, but have you always been politically conscious or was it a slow awakening, perhaps in reaction to a particular incident?
I have always been political, but it took a few years though to work out how to present it constructively in my music.

With your Dad's line of work obviously providing inspiration for you to start recording sounds and manipulating them to make music in your youth, what do you parent's think of your success as a musician?
Having invested time and money in teaching me music in the first place, I think they are happy that I have continued with it. Stylistically, it's not always an easy ride for them however.