Home » I Like That » TRACK OF THE WEEK | GUS RIGBY – ‘REAL LIFE CREEPER’

TRACK OF THE WEEK | GUS RIGBY – ‘REAL LIFE CREEPER’

Gus Rigby recently released his debut single, ‘Real Life Creeper’. The track is Ribgy’s first release as a solo artist, but is by no means his first foray into the world of music; he has played saxo-maphone and bass for the likes of #1 Dads and Big Scary for years. He has recently moved to Darwin, however ‘Real Life Creeper’ was in fact inspired by regular tram rides past Melbourne’s Crown Casino. As Rigby himself puts it, “the building would cast this huge shadow over the road and it would be so cold I’d get chills up my spine every time I rode through it. I started humming this melody sitting at a traffic light, shivering in the cold shadow of the casino.”

What is immediately striking about this track are its’ lyrics. There is no obscure meaning, no impassioned or sentimental undertones- the whole thing is a really witty, articulate description of the “creepers” of the world- as Rigby puts it, “money-loving, casino-building types who profit off of other’s misfortune, sadness, and addictions.” Snippets that stick out include “if your dream was a person then he’d be the reaper” and “check you’re standing in his shadow anytime that you feel cold”.

This no nonsense approach seems to extend to the tracks’ overall sound. There isn’t any super smooth or flashy production, with Rigby having performed and recorded the whole thing himself in his former home studio in Abbotsford. The overall sound is perhaps a little disjointed- the bulk of the backing is provided simply by bongos, dissonant synth sounds and guitars, making the track’s saxophone solo seem slightly out of place. However, what the track perhaps lacks in its’ overall cohesiveness, it makes up for in Rigby’s tongue in cheek and catchy lyrics.

Also released along with the track was an amazing, slightly dystopian animation by Ry Wilkin that can be viewed below! Here’s hoping when Rigby gets bigger we can still claim him as a Melbournite.

By Claire Barley

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