I'm going to ramble for a while. If you choose to follow along, please do.
I'm going to make Spindlebone's page about Spindlebone's POV and talk from my perspective about Spindlebone over here.
What I see in these 6 sick pics is progress. Beats in the Witch House is where I started gathering all I had done audio wise, for film or project soundtrack or just for pleasure, up to that point.
Since life had put me in a position where I had to step back from film and, to a large degree, any sort of group project, it was nice to find I already had a really good base to begin my own musical endeavor.
I decided I was going to do this despite not being a musician in the proper sense, but with Audacity, both the boldness and the sound program.
I have ideas, seeds planted by all the things I have admired that need to come into the light and flourish. I have narratives and imagery that seem to me best expressed through sound and music.
I have some skills, but I need more.
I have to keep learning.
As I learn, I build not only skills, but praxis and lore. Each lesson produces... well, something. Each album is a test and then a testament to what I've learned. On the one hand, I'm telling a story, in essence, about a witch-led, backwater, spectral, electro-jug, cosmic horror, puppet band with this music. On the other, the music is telling a story about me, about my successes, failures, and near misses. I'm not always comfortable with what it has to say in that regard.
I'm still trying to make the music I really want to make. These albums are the products of the process of getting there. The whole project is a sort of puzzle. The songs have somewhat obvious genealogy for those devils interested in the details. Of which, to be real, I hope there are many. Maybe you're one of them.
Follow the throughline of all 6 albums.
Listen to all of Spindlebone.
See if you can figure it out.
There will be lyrics and vocals eventually for some pieces, but admittedly, I fear the "and then they started singing" trap, i.e. The song started off really cool... and then they started singing.
Still that's different for everyone I suppose.
Not everyone loves Tom Waits' voice like I do and other people who are really into Coil, like I am, actually love it when they sing, like I generally don't.
I'll be throwing my hat in the ring someday soon all the same. Maybe on Spider Basket (the new shit). Who can know?
I'm also thinking of releasing an album, tentatively titled Bone Drones, made of mostly longer placeless pieces, for those into the trancier stuff. Although, some of the more alien things will likely end up on the forthcoming We Are Not From Here, as well. We'll talk about that later.
I know "no one is listening" and that's truly something of a boon right now. It allows me to grow in the dark until I can glow in the dark. It means my influences are my own.
It's not entirely a choice, even so. I have to do it whether anyone is listening or not.
And it seems this music is not really like other things. It is distinct.
The greater majority of the things I listen to, trying to find family for Spindlebone, can sound so uncomfortably clean to my ear, some even clinical, nearing sterility.
Spindlebone is most certainly not sterile.
If anything it's probably infected.
Still, even though it is spreading, I often have to remind myself that this music is meant to stay occult and I'm not striving for fame.
