Splinterskin Interview; October Roads
Thursday, October 15 2009 @ 02:00 AM PDT
Contributed by: drengskap
Splinterskin is a musician living and working in Ohio, producing a unique kind of dark, autumnal folk music. His songs are recorded live through a single microphone, using only acoustic instruments, giving the music a raw, unmediated feel, whilst the lyrics are strongly narrative, relating eerie gothic tales of death and decay.
Wayward Souls, Splinterskin’s debut album, was released by Cold Spring Records in late August, 2009.
Heathen Harvest: Greetings, Splinterskin. I really enjoyed Wayward Souls, your debut album, but I know very little about you or the way in which this album was created, so maybe you could begin by outlining something of your musical background. How long have you been working as Splinterskin? Were you previously involved with other bands or solo projects?
Splinterskin: Thank you for your kind words and your early support. I have worked mostly alone in recording music for the last 15 years... until finding a fair way to express what I intended through music about five or six years ago, never having a band or group. There is nothing much to say about working alone. I have found the formula that resonates with my energies.
I record the music as simply as possible, using a microphone in or near the woods when I can, but mostly in my studio room. I record the songs live, with no fills or re-recordings. Sometimes I perform over the recordings of rain or wind, water, etc. I add very little if anything to the recording after it is done, but when I do it is hand drums, another guitar, and violin and so on. I want it raw, simple and authentic as possible, and I have a method I stick with to capture this now. Most of the songs are the first time I recorded them at all. Only a few, maybe two songs on Wayward Souls were recorded more than once. So you are hearing the energy of the song in its original birth.
I record in the fall and winter, while writing throughout the year, depending on inspiration. I do not write to have material. I write when inspired directly. I didn’t show anyone this music until near 2007… and to those on the internet in 2008. This was very difficult for me to release... to show my music to others.
The name Splinterskin was created in the year 2000, just as an alternate name while working on another idea, which I abandoned in one form, yet carried on in ideals, mood and concepts until now. The name captures everything I intend to say.
HH: How did it come about that you released your album on Cold Spring Records?
SS: As for Cold Spring Records, I upload my music on a few websites and had much interest and several offers quite quickly, which surprised me. Cold Spring was above all more direct, honest and understanding of what I was doing. Also, the label name simply resonated with me more than others, and that is important to me. It is more than that, but I suppose Justin, the owner, being a musician at heart, understands how sensitive some of us can be... so I felt most comfortable with Cold Spring.
HH: Wayward Souls was recorded in Oregon, Ohio – is this location as isolated and rural as your album artwork would seem to imply? Is your music directly inspired by your everyday surroundings, or do you have to seek out woodland solitude?
SS: I have large trees all around, elms, ash, maples and a 'Judas tree' shading my home. There is a small wood behind my home, and then a flowing creek. Just beyond that is the historic Willow Cemetery.
Oregon is a sub-city of Toledo, Ohio, which is a rather large city, called the sister city of Toledo, Spain, for whatever reason. Oregon is rural in parts, an old farming community really, named by the nephew of Washington Irving, who wrote ‘The Legend Of Sleepy Hollow’. This is all old Native American land, once called the Black Swamp. It has some interesting history.
Although I live only a few miles from Toledo, nothing from there is resembled or influenced in my work at all. I can go behind my home and find enough solitude and peace... looking off my porch into the trees.
For now, this is enough for me.
HH: Although you are known only as Splinterskin, it seems as if a lot of people with the surname St. John were involved with the production of Wayward Souls – Chadwick St. John did the illustrations, Gregory, Chadwick and Andrea St. John provided photographs, and the album credits also list Reginald and Sheree St. John and Donald and Justin St. John. Is Splinterskin a bit of a family concern?
SS: They are my family. They have helped with things I cannot do myself, like taking pictures, or filming, and more. They have each provided support in different ways. Although no one helped directly on the recordings of my music, I would never have released it without them. So, in that respect, it is a family concern. Before Cold Spring came along, Splinterskin was going to be self-released with the help of those listed in the CD.
HH: Did you have any musical inspirations or precedents in mind when you were developing Splinterskin’s characteristic sound? I was wondering specifically about whether you were aware of American neo-folk bands such as Changes, In Gowan Ring and Harvest Rain, and also the Cascadian black metal and heathen folk scene associated with the Pacific Northwest, including bands like Ruhr Hunter, Blood Of The Black Owl, Waldteufel, Fauna and Wolves In The Throne Room, who share your love of forests and darkness, use of field recordings etc.
SS: The sound of Splinterskin was spontaneous: very natural and flowing energy with no focus on production or genre… it was about the feelings, content and mood.
I have not heard any of these names until recently. Others write to me mentioning them, through the internet, emails and letters. I have been compared to others a few times now it seems, and whenever I have listened to those I have been compared to, I am a bit bewildered. With all respect, other than acoustic instruments and the inherent basics of folk music, I sound nothing like them, and have even less in common besides the nature aspects. Then again, I really haven’t given them all a listen, so that is not completely fair. I understand the need to compare my work with others to give readers an idea of my sound, but it is not really true. I am sure that the other musicians will feel the same way. Perhaps they would even be insulted being compared to Splinterskin. 'Cascadian' is a humorous term to me actually... I've never heard that. It brings odd imagery to my mind.
As for my listening tastes, I have certain songs that are my favourites, by Rachmaninoff and so on, and listen to the same songs when I want music. I can appreciate all creative endeavours and styles, but I am quite rigid in my interests and what I read and listen to.
HH: Whilst your music is exclusively acoustic and folk-based, it does seem to possess a distant kinship with extreme metal, especially black metal, partly because of the forests-and-darkness aesthetic mentioned in the previous question, but also via Chadwick St. John’s artwork for the Swedish black metal bands Arckanum and Craft. Indeed, the Splinterskin logo made me assume that this was a black metal album until I actually listened to it. Are you very interested in black metal, and if so, which type of bands?
SS: I am not interested in black metal specifically, or any other genres for that matter. I have friends and some of them write in that 'genre' of music, and they are very good at it... some of the best, in my humble opinion. They are supportive of me and I support them. Some of them helped spread my music to others and I am very grateful.
I listen to very little music these days, and when I do it is mostly classical as I mentioned, as well as soundtracks sometimes, and others I grew up with.
The Splinterskin logo is meant to resemble sticks, vines and the feeling of the name. That is why I drew it that way. I understand why you mention the similarity. It is a bit roughly designed and I like it like that.
HH: Leaving musical influences aside, the strong narrative style of your lyrics leads me to suspect that you must also have been influenced by gothic horror literature and films. Are there particular books or films that you would consider to be great inspirations for the atmosphere or aesthetics of Splinterskin?
SS: I would say there are some inspirations as a youth. Mentioning gothic literature, I grew up reading some Poe and H.P. Lovecraft, and I think some of Lovecraft’s stories in particular are wonderful. 'The Shadow Over Innsmouth' is one of the greatest short stories ever I think... the way Lovecraft captures the New England coast and towns, the atmosphere; it is all there and very thick. Oddly enough, Lovecraft mentions Toledo, Ohio in this story as well, though I am not sure of his reasons.
There are many films I love, the original Salem's Lot being one of my favourites. I like well paced, thorough stories and not new films with fast cuts, overwhelming effects and popular actors. American cinema is very bad these days, and the horror film here is mostly just gore now. All are made the same really, with little feeling. The old English films of Hammer are great, as well as Roman Polanski, Dario Argento, John Carpenter and few others.
I have read enough throughout my life, yet I cannot really name one author or director who influenced me most… only specific films and stories, most of them short. I do not intentionally use anything in my works from any other creations, film or literature. I wouldn’t feel right doing that... and certainly would not be able to record music with the proper energies I rely on for my work... I would fade out.
I do appreciate the comparisons to film and visions of directors, which indicates to me that others are actually envisioning my words when I play. It has been mentioned to me many times now. That makes me very happy. I am thankful others are absorbing my work and I hope to continue this feeling and imagery into all other creations as well.
HH: Have there been any live performances by Splinterskin yet – if so, when and where? Are there more live shows planned? Or if not, is this something you’d like to see happening in the future. Do you think your music would translate well into the arena of live performance?
SS: I have never yet played live in front of an audience, but if I performed how I plan to, it will translate perfectly. I plan for something different and interesting if and when I do play live. I will not simply stand or sit on a chair on a stage with a spotlight alone and convince myself to believe others will find that interesting. I want the complete atmosphere and mood. I will need two others to help for sound on certain songs, and I never leave my home to look for them, so maybe I will start out by releasing a video... and wait for the right two musicians to show up... one for violin and guitar, and another for stand-up bass. Classical guitar is very difficult to record, and to do it live will be so terribly difficult, so I will need help with the sound as well. If it never happens, then I will not complain.
HH: Have you got any plans to make a video? My review of Wayward Souls contained a lot of references to cinema, and many of your songs would lend themselves very well to visual interpretation.
SS: There will be videos. What kind of video it will be depends on funding and time. Surely it will be very atmospheric and different, or I will not do it.
HH: Do you have any further releases planned yet? Have you been working on new material since the release of Wayward Souls?
SS: I am recording the next album right now. Some songs were written years ago, and some are very recent. It will be finished soon... by end of fall or sooner I think. I look forward to the music on vinyl as well.
HH: I’m interested that you mention vinyl – are there plans afoot for a vinyl edition of Wayward Souls? Would that be on Cold Spring again, or on a different label? Do you have strong feelings about musical formats? I can easily see that the organic warmth and crackle of vinyl would be a natural fit with the music of Splinterskin.
SS: There are no plans set now. Only it has been mentioned and it will come one way or another. I am not working with any other labels as of now. The sound of vinyl will only enhance the focus of the music and tales… It is a sound for the nostalgic, the searching, the aesthetic and the sad…vinyl by its very nature and its subtle background noise, is a somewhat somber medium, meant for the romantic, and dreamers. The noise tends to add an atmosphere of concentration which compact discs lack. This can only help the goal of the music.
HH: Is Splinterskin essentially and necessarily a solo project, or can you envisage yourself collaborating with other musicians in the future?
SS: It is who I am, not just a project. I tell stories and must express certain energies. There is no choice for me anymore. I write and play on my own, and will continue to, regardless of whether I find musicians for live shows and live recordings or not. I just focus on the mood and atmosphere and the message for now. I honestly do not think much about playing with others... I am seldom around anyone outside of my family. It is natural for me, and if no people will hear my music then there are animals and trees that will.
To be completely honest and open: I am an outcast among outcasts... a kind of voice for those without a comfortable place in this world, yet with a shared energy and spirit that could have compelled many things to change outright. I understand the secluded, the humble and the mad, all at once. There is nothing in vain here... everything is just expressed... expelled and free... for me to be truthful to myself and anyone that hears what I am saying, I have to just be... and that means to show all the thorns and shredded bark that comes with me... splinters and all. This was one of the hardest things for me to do in my life... to let myself be known in music... to let others hear what I have to say, with only little filtering through allegory, riddles and shadows.
I am exposing my spirit here... and it is somewhat painful at the same time it is necessary.
HH: Was it always your intention to release this album in late summer, just in time for autumn? Given the autumnal themes of your lyrics and album artwork, it seems like perfect timing.
SS: Well, yes, but there are songs on the album reflecting all moods and atmospheres... anger, sadness, winter and spring as well. I just resemble the autumn explicitly in my appearance and imagery. So yes, I am most comfortable in autumn.
The label decided when to release the CD, and I think that it was a great idea.
This is just one example of why I am happy with Cold Spring Records.
Thank you for all your kind support and your time. I am appreciative.
(This interview with Splinterskin was conducted by email during October 2009.)
Thursday, October 15 2009 @ 02:00 AM PDT
Contributed by: drengskap
Splinterskin is a musician living and working in Ohio, producing a unique kind of dark, autumnal folk music. His songs are recorded live through a single microphone, using only acoustic instruments, giving the music a raw, unmediated feel, whilst the lyrics are strongly narrative, relating eerie gothic tales of death and decay.
Wayward Souls, Splinterskin’s debut album, was released by Cold Spring Records in late August, 2009.
Heathen Harvest: Greetings, Splinterskin. I really enjoyed Wayward Souls, your debut album, but I know very little about you or the way in which this album was created, so maybe you could begin by outlining something of your musical background. How long have you been working as Splinterskin? Were you previously involved with other bands or solo projects?
Splinterskin: Thank you for your kind words and your early support. I have worked mostly alone in recording music for the last 15 years... until finding a fair way to express what I intended through music about five or six years ago, never having a band or group. There is nothing much to say about working alone. I have found the formula that resonates with my energies.
I record the music as simply as possible, using a microphone in or near the woods when I can, but mostly in my studio room. I record the songs live, with no fills or re-recordings. Sometimes I perform over the recordings of rain or wind, water, etc. I add very little if anything to the recording after it is done, but when I do it is hand drums, another guitar, and violin and so on. I want it raw, simple and authentic as possible, and I have a method I stick with to capture this now. Most of the songs are the first time I recorded them at all. Only a few, maybe two songs on Wayward Souls were recorded more than once. So you are hearing the energy of the song in its original birth.
I record in the fall and winter, while writing throughout the year, depending on inspiration. I do not write to have material. I write when inspired directly. I didn’t show anyone this music until near 2007… and to those on the internet in 2008. This was very difficult for me to release... to show my music to others.
The name Splinterskin was created in the year 2000, just as an alternate name while working on another idea, which I abandoned in one form, yet carried on in ideals, mood and concepts until now. The name captures everything I intend to say.
HH: How did it come about that you released your album on Cold Spring Records?
SS: As for Cold Spring Records, I upload my music on a few websites and had much interest and several offers quite quickly, which surprised me. Cold Spring was above all more direct, honest and understanding of what I was doing. Also, the label name simply resonated with me more than others, and that is important to me. It is more than that, but I suppose Justin, the owner, being a musician at heart, understands how sensitive some of us can be... so I felt most comfortable with Cold Spring.
HH: Wayward Souls was recorded in Oregon, Ohio – is this location as isolated and rural as your album artwork would seem to imply? Is your music directly inspired by your everyday surroundings, or do you have to seek out woodland solitude?
SS: I have large trees all around, elms, ash, maples and a 'Judas tree' shading my home. There is a small wood behind my home, and then a flowing creek. Just beyond that is the historic Willow Cemetery.
Oregon is a sub-city of Toledo, Ohio, which is a rather large city, called the sister city of Toledo, Spain, for whatever reason. Oregon is rural in parts, an old farming community really, named by the nephew of Washington Irving, who wrote ‘The Legend Of Sleepy Hollow’. This is all old Native American land, once called the Black Swamp. It has some interesting history.
Although I live only a few miles from Toledo, nothing from there is resembled or influenced in my work at all. I can go behind my home and find enough solitude and peace... looking off my porch into the trees.
For now, this is enough for me.
HH: Although you are known only as Splinterskin, it seems as if a lot of people with the surname St. John were involved with the production of Wayward Souls – Chadwick St. John did the illustrations, Gregory, Chadwick and Andrea St. John provided photographs, and the album credits also list Reginald and Sheree St. John and Donald and Justin St. John. Is Splinterskin a bit of a family concern?
SS: They are my family. They have helped with things I cannot do myself, like taking pictures, or filming, and more. They have each provided support in different ways. Although no one helped directly on the recordings of my music, I would never have released it without them. So, in that respect, it is a family concern. Before Cold Spring came along, Splinterskin was going to be self-released with the help of those listed in the CD.
HH: Did you have any musical inspirations or precedents in mind when you were developing Splinterskin’s characteristic sound? I was wondering specifically about whether you were aware of American neo-folk bands such as Changes, In Gowan Ring and Harvest Rain, and also the Cascadian black metal and heathen folk scene associated with the Pacific Northwest, including bands like Ruhr Hunter, Blood Of The Black Owl, Waldteufel, Fauna and Wolves In The Throne Room, who share your love of forests and darkness, use of field recordings etc.
SS: The sound of Splinterskin was spontaneous: very natural and flowing energy with no focus on production or genre… it was about the feelings, content and mood.
I have not heard any of these names until recently. Others write to me mentioning them, through the internet, emails and letters. I have been compared to others a few times now it seems, and whenever I have listened to those I have been compared to, I am a bit bewildered. With all respect, other than acoustic instruments and the inherent basics of folk music, I sound nothing like them, and have even less in common besides the nature aspects. Then again, I really haven’t given them all a listen, so that is not completely fair. I understand the need to compare my work with others to give readers an idea of my sound, but it is not really true. I am sure that the other musicians will feel the same way. Perhaps they would even be insulted being compared to Splinterskin. 'Cascadian' is a humorous term to me actually... I've never heard that. It brings odd imagery to my mind.
As for my listening tastes, I have certain songs that are my favourites, by Rachmaninoff and so on, and listen to the same songs when I want music. I can appreciate all creative endeavours and styles, but I am quite rigid in my interests and what I read and listen to.
HH: Whilst your music is exclusively acoustic and folk-based, it does seem to possess a distant kinship with extreme metal, especially black metal, partly because of the forests-and-darkness aesthetic mentioned in the previous question, but also via Chadwick St. John’s artwork for the Swedish black metal bands Arckanum and Craft. Indeed, the Splinterskin logo made me assume that this was a black metal album until I actually listened to it. Are you very interested in black metal, and if so, which type of bands?
SS: I am not interested in black metal specifically, or any other genres for that matter. I have friends and some of them write in that 'genre' of music, and they are very good at it... some of the best, in my humble opinion. They are supportive of me and I support them. Some of them helped spread my music to others and I am very grateful.
I listen to very little music these days, and when I do it is mostly classical as I mentioned, as well as soundtracks sometimes, and others I grew up with.
The Splinterskin logo is meant to resemble sticks, vines and the feeling of the name. That is why I drew it that way. I understand why you mention the similarity. It is a bit roughly designed and I like it like that.
HH: Leaving musical influences aside, the strong narrative style of your lyrics leads me to suspect that you must also have been influenced by gothic horror literature and films. Are there particular books or films that you would consider to be great inspirations for the atmosphere or aesthetics of Splinterskin?
SS: I would say there are some inspirations as a youth. Mentioning gothic literature, I grew up reading some Poe and H.P. Lovecraft, and I think some of Lovecraft’s stories in particular are wonderful. 'The Shadow Over Innsmouth' is one of the greatest short stories ever I think... the way Lovecraft captures the New England coast and towns, the atmosphere; it is all there and very thick. Oddly enough, Lovecraft mentions Toledo, Ohio in this story as well, though I am not sure of his reasons.
There are many films I love, the original Salem's Lot being one of my favourites. I like well paced, thorough stories and not new films with fast cuts, overwhelming effects and popular actors. American cinema is very bad these days, and the horror film here is mostly just gore now. All are made the same really, with little feeling. The old English films of Hammer are great, as well as Roman Polanski, Dario Argento, John Carpenter and few others.
I have read enough throughout my life, yet I cannot really name one author or director who influenced me most… only specific films and stories, most of them short. I do not intentionally use anything in my works from any other creations, film or literature. I wouldn’t feel right doing that... and certainly would not be able to record music with the proper energies I rely on for my work... I would fade out.
I do appreciate the comparisons to film and visions of directors, which indicates to me that others are actually envisioning my words when I play. It has been mentioned to me many times now. That makes me very happy. I am thankful others are absorbing my work and I hope to continue this feeling and imagery into all other creations as well.
HH: Have there been any live performances by Splinterskin yet – if so, when and where? Are there more live shows planned? Or if not, is this something you’d like to see happening in the future. Do you think your music would translate well into the arena of live performance?
SS: I have never yet played live in front of an audience, but if I performed how I plan to, it will translate perfectly. I plan for something different and interesting if and when I do play live. I will not simply stand or sit on a chair on a stage with a spotlight alone and convince myself to believe others will find that interesting. I want the complete atmosphere and mood. I will need two others to help for sound on certain songs, and I never leave my home to look for them, so maybe I will start out by releasing a video... and wait for the right two musicians to show up... one for violin and guitar, and another for stand-up bass. Classical guitar is very difficult to record, and to do it live will be so terribly difficult, so I will need help with the sound as well. If it never happens, then I will not complain.
HH: Have you got any plans to make a video? My review of Wayward Souls contained a lot of references to cinema, and many of your songs would lend themselves very well to visual interpretation.
SS: There will be videos. What kind of video it will be depends on funding and time. Surely it will be very atmospheric and different, or I will not do it.
HH: Do you have any further releases planned yet? Have you been working on new material since the release of Wayward Souls?
SS: I am recording the next album right now. Some songs were written years ago, and some are very recent. It will be finished soon... by end of fall or sooner I think. I look forward to the music on vinyl as well.
HH: I’m interested that you mention vinyl – are there plans afoot for a vinyl edition of Wayward Souls? Would that be on Cold Spring again, or on a different label? Do you have strong feelings about musical formats? I can easily see that the organic warmth and crackle of vinyl would be a natural fit with the music of Splinterskin.
SS: There are no plans set now. Only it has been mentioned and it will come one way or another. I am not working with any other labels as of now. The sound of vinyl will only enhance the focus of the music and tales… It is a sound for the nostalgic, the searching, the aesthetic and the sad…vinyl by its very nature and its subtle background noise, is a somewhat somber medium, meant for the romantic, and dreamers. The noise tends to add an atmosphere of concentration which compact discs lack. This can only help the goal of the music.
HH: Is Splinterskin essentially and necessarily a solo project, or can you envisage yourself collaborating with other musicians in the future?
SS: It is who I am, not just a project. I tell stories and must express certain energies. There is no choice for me anymore. I write and play on my own, and will continue to, regardless of whether I find musicians for live shows and live recordings or not. I just focus on the mood and atmosphere and the message for now. I honestly do not think much about playing with others... I am seldom around anyone outside of my family. It is natural for me, and if no people will hear my music then there are animals and trees that will.
To be completely honest and open: I am an outcast among outcasts... a kind of voice for those without a comfortable place in this world, yet with a shared energy and spirit that could have compelled many things to change outright. I understand the secluded, the humble and the mad, all at once. There is nothing in vain here... everything is just expressed... expelled and free... for me to be truthful to myself and anyone that hears what I am saying, I have to just be... and that means to show all the thorns and shredded bark that comes with me... splinters and all. This was one of the hardest things for me to do in my life... to let myself be known in music... to let others hear what I have to say, with only little filtering through allegory, riddles and shadows.
I am exposing my spirit here... and it is somewhat painful at the same time it is necessary.
HH: Was it always your intention to release this album in late summer, just in time for autumn? Given the autumnal themes of your lyrics and album artwork, it seems like perfect timing.
SS: Well, yes, but there are songs on the album reflecting all moods and atmospheres... anger, sadness, winter and spring as well. I just resemble the autumn explicitly in my appearance and imagery. So yes, I am most comfortable in autumn.
The label decided when to release the CD, and I think that it was a great idea.
This is just one example of why I am happy with Cold Spring Records.
Thank you for all your kind support and your time. I am appreciative.
(This interview with Splinterskin was conducted by email during October 2009.)