As one the UK's most treasured cult songwriters Darren Hayman made a name from himself as the guiding force behind cerebral 90's 'urban folksters' Hefner. Now stepping out as a solo artist in his own right he releases his fourth album 'Pram Town' - a collection of folk-stained guitar pop - early next year. FDM.com recently sat down with Darren to talk about Harlow (the rather surreal muse for his new album) and the changing landscape of the UK music industry. Here's what he had to say...

FDM: Firstly Darren, could you tell us a little about your upbringing in Harlow. Your new record 'Pram Town' is a concept album of sorts built around a man's life in Harlow. Are you drawing from personal experience with this record or is more observational?

DH: For a couple of records now I've been finding myself writing about where I'm from, Essex, as opposed to where I am, London. I decided to do the idea properly and write an album about growing up in a small town. The idea changed somewhat through the writing though. Instead of writing about my own town I found myself drawn to Harlow and the narrative itself became less about growing up and more of a 'sliding doors' thing.

I owe everything to living in London so I wondered what my life might be like if I lived in Harlow. Then the history of New Towns started to weave its way into the narrative.

FDM: Suburban areas like Harlow are perhaps two-a-penny in the UK. Are they creatively stifling or can such drab surroundings actually inspire the right type of person?

DH: Well actually I don't think areas specifically like Harlow are two-a-penny. It has an oddness that isn't immediately apparent. There are sculptures by Henry Moore and Barbara Hepworth scattered amongst crisp elegant post war architecture. They have some of the most beautiful modern churches.

I love the idea of New Towns. I love the pioneering vision. The idea didn't work though, and although I find the suburbs and New Towns fascinating I could never live there. I'm drawn to write songs about things other people don't. If the idea compels me and it seems odd enough I'll find a way in. Harlow definitely inspires this sort of person.

FDM: How do you think the residents of Harlow will feel about your interpretation of your home town?

DH: I used to be very adept at writing slightly snotty songs where I'm looking down on people from the outside. I really don't want to do this anymore. In writing about people in Harlow, I'm writing about friends and family of mine. I'm also writing about myself. I wouldn't choose to live in the suburbs but I hope that the characters in 'Pram Town' are drawn real enough for people.

FDM: You've released a host of albums since Hefner, how do you think you've matured as a songwriter? Does it get easier with age?

DH: You know yourself better which makes it easier. I find myself being less concerned about what people might want to hear or how many records I might sell and that makes it easier to write the songs you want to write. I also find if you follow your instincts and write about what interests you, you soon find yourself stumbling upon original, striking subject matter.

I can find a lot wrong with the majority of the Hefner songs now. They are very bratty, petulant songs. I have just had a weird year playing a lot of the Hefner songs to twice my usual audience. However I remain convinced the songs I'm writing now are more worthwhile.

FDM: What inspires you now? The musical landscape has evolved since the times of Hefner - do you think that's for the better or for the worse?

DH: I think of it as my duty as a songwriter to listen to as much off-beat and obscure music as possible. Nobody has any use for another songwriter inspired by the Beatles and the Velvet Underground. Some recent things I've been listening to are Bobb Trimble and Jona Lewie.

I try to be aware of what's happening currently but once again feel it's healthy to not be influenced too much. It would be unbecoming of a man my age to sound like Light Speed Champion. No offence to him.

FDM: As a solo artist and with Hefner you've always kicked against the norm. There's probably a handful of young songwriters out there desperate to follow in your footsteps and resist the lure of the beige, uninspiring mainstream. What advice would you give them?

DH: Well the interview has kind of covered it. If you find yourself interested in something like an Essex town then don't deny it. Write a song about it. Rock lyrics have their own tropes and stereotypes. Bands like Snow Patrol and Coldplay are using a vernacular and vocabulary in their songs that they've just learnt from other rock music. Lights are always 'burning', hearts are always on 'fire'. It's the most simple thing to put everyday speech into song.

I guess people like Mike Skinner and Kate Nash have done something like this and they are both really good, although recently this itself has started to become a 'style' where lyrics are punctuated with brand names and slogans.

Darren Hayman and The Seconday Modern's new album 'Pram Town' is released in early February through Track & Field. You can read an FDM.com review of the album next week.