During the mid-nineties Adam and his friend James E.M. Smith began playing together and recording the results on a series of 4-track tapes, as many as 30 tapes were recorded and mixed during this time. These meetings were mainly improvised after a warm up of covers and were known as the 'Soda Stream' sessions. The master tapes have since been lost with only scraps of this time mixed to master tapes and digitised.
In 1999 Adam attended University at Bath Spa to study a course in Creative writing and music, here he used his time to develop his music more than study and after a stressful two years dropped out and entered in to the world of dead end jobs. The only plus side to Bath was the meeting between Adam and Mike Arnold, a fellow student was the first official release of finglebone material on Mike's Scandinavian Fashion Head Label. The EP was known as finglebone - 'towers' due to the cover design by James. The music was a mixture of instrumental pieces, loops and experiments but was never formerly sold, being used solely for promotion.
Finglebone stumbled into a hiatus 2000-2004 - Work commitments, relationships etc. A few pieces were recorded during this time in late night sessions but never released. Between 2004 -2006 Adam recorded improvised guitar pieces during late night sessions on his digital 4-track. These were later layered to bulk out the sound but remained simple songs that conveyed distinct feelings without words.
These sessions lead to the self-release of 'Empty Rooms, Forgotten Songs' an EP that Lou Barlow described"that’s really good.. listened to all the songs, very relaxing" The first great response to any of his work Adam pursued independent labels to release other works and was taken up by Best Kept Secret Tapes a label set up by Alessando Crestini in Italy. CAT 148 This was also met with a good response. finglebone began to get more recognition and as he developed his own style and experimented with textures of field recording and loops, this led to a release on a sub label of Hibernate, Rural Colours.
John Gibbons (Bardo Pond) Anybody that knows me knows that i'm not big chatter, so when a guy named finglebone poked me in my chat muscle on my facebook i was a little leary to respond as i did not remember friending anybody by the name finglebone. Well i can say wholeheartedly that i am glad my chattaphobia was suppressed that day as he passed along a link to his new record "23" which immediately peaked my interest cause i've had a synchronistic buzz with that number ever since reading "Cosmic Trigger" by Robert Anton Wilson. Its a sacred magical number and this record reflects the same beauty lifting the veil to reveal the magic of music and life, Its a collage of sweet guitars, field recordings, drones and loops. Depression never sounded so good.
I'm not sure where the finglebone is in the body but this one really touches the soul. Thanks man. Check it out. finglebone continues to produce music and is currently venturing into the world of live solo gigs, taking along a series of loops, samples and fx pedals and of course his distinct skeletal guitar melodies. His most recent release was 'Voorwerp' released as Tape Cassette on Armed Within Movement label www.armedwithinmovement.com Voorwerp’s comprises of two nine-minute tracks, which combine the softest elements of drone, and the harder edges of ambient, and are akin to the best bit of ‘Shine On.
. .’, which is it’s introductory sequence. What Finglebone, aka Adam Varney, does, is to stop before the theme gives way to cliché. Pink Floyd were well past their best, when it came to the extended format, by 1975, and Barrett even said the track sounded old.
Finglebone, on the other hand, by sticking rigidly to one musical theme at a time, has created something that would sound contemporary in any era, and he hasn’t had to weld it to any teary verse-chorus strum-along songs in order to get the job done. Voorwerp is subtle, and is mysterious like its cosmic namesake. It achieves a great deal, without doing a lot, and this is down to some excellent instrumentation, a good deal of thoughtful self-confidence, and a few happy accidents no doubt. Perhaps though, Voorwerp’s defining feature is in Finglebone’s mastery of the field recording, which only ever seems to enhance his material, by adding to the journey, and not overshadowing the music, for it becomes an intrinsic part of it.
A decade into his home-recording career, and Finglebone’s quality keeps growing. Long may he run, for he’s a long way off Wish You Were Here, which might mean his Meddle and Dark Side of the Moon are still to come. Cloud Runner (blog) crateromys.wordpress.com/cloudrunner/ Finglebone’s droney guitar noodling proved to be the most therapeutic way to watch the Hungarian countryside pass by. I should have made a video of the blurring greenery and used Adam Varney’s melancholy pluck as background.
Merging drones and field recordings with his echoing guitar work Varney creates pieces that evoke atmospheres more usually associated with Ry Cooder [and maybe even the more recent Bad Suburban Nightmare]. These are melancholy pieces in which Varney’s slightly struck electric guitar strings reverberate into the ether helped along the way by the sound of rushing water and large hums. A hint of Cocteau Twin, a smattering of Jim O’Rourke, somehow veering towards New Age but having enough originality to stop it falling in to that category. All very relaxing and contemplative.
IDWAL FISHER blog Follow this link http://blip.tv/episode/6369258 for live footage Main infulences include Slint. Tortoise, sonic youth, nick drake, john Fahey, Alexander Tucker, Bardo Pond, Lou Barlow, Yo la Tengo, shellac, Dianogah, June of 44, Shipping News, Matmos, Aphex Twin, Tool, bert Jansch, Joni Mitchell, neil young, beatles, Rolling Stones, Bob Dylan, Sun 0))), Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
show me more