Hailing from Georgia, Matthew Ryan Lester is a singer/songwriter and producer with a truly unique backstory – and one we really wanted to dive into. Performing under the moniker (this time) of The Spinning Game, Matthew recently delivered two of the most heartbreakingly beautiful tunes I’ve ever heard, and it was now certain that we had to know more about the artist!
Thrilled that he agreed to an interview, Matthew chats with us about the deeply personal nature of his two new singles ‘Darian’s Dirge’ and ‘Curtains Close’. We also delive into some of his biggest musical influences, and why he ultimately prefers to keep his distance from the music industry. So, without further ado, please welcome our new friend Matthew Ryan Lester, AKA The Spinning Game!
Hi Matthew, thanks a lot for taking the time to chat with us! I’m really excited to introduce you to our ever-expanding audience! Before we get into the nitty-gritty, could you tell us about your musical journey? I know you released your debut album ‘Cynical’ way back in 2010.
I began writing and recording songs at around eleven. My sister’s boyfriend played bass in metal and punk bands, which sparked my obsession with playing bass and guitar. My parents bought me a four-track Tascam tape recorder, and I spent my free time writing and recording.
By fifteen, I was performing and got heavily involved in the DIY Folk and Punk scene in Philadelphia and Harrisburg, playing alongside bands like Modern Baseball and The Front Bottoms. A friend, Dan Anderson, had a DIY label called Beard Party, where I released several EPs, including ‘Constellations’, ‘Rats’, and a split with Jake Williams.
After taking a couple of years off, I returned to music by releasing the EP ‘Uprooted’ in 2014 and a split called ‘I Don’t Care About Your Birthday’ with friends. I moved to Houston at 21, played in various bars, and released ‘Milk and Honey’, ‘Simple Songs’, and ‘Good Grief’ between 2016 and 2017. During this time, I also started an experimental side project, Fire in a Crowded Theater, releasing ‘Somnium’, ‘Danae Macabre’, and ‘Noir’.
After getting sober in 2018, I began releasing alt-country/folk music under my name, Ryan Lester, starting with a single in 2018 and the EP ‘Refuge’ in 2020. Since then, I’ve lost 150 pounds, joined the military, got married, and had a baby, all while collecting life experiences and writing songs.
I was fortunate enough to get a sneak preview of your brand new tune ‘Darian’s Dirge’, and it’s truly one of the most beautiful and haunting tracks I’ve heard in some time. A deeply personal offering, I’m wondering if you could tell our readers more about the song.
Thank you! I wrote that song after the passing of my close friend Darian last year. His death triggered personal turmoil, anxiety, and existential dread. I had initially shelved the name The Spinning Game in 2017 after losing many friends to overdoses and suicide, while I struggled with alcoholism. After Darian’s death, those raw emotions resurfaced, leading to the creation of new Spinning Game songs, which surprised me.
The first two verses of the song flowed out cathartically, while the third verse took five rewrites; it started dark and metaphorical. My wife, Aubrey, encouraged me to be more straightforward, and the honesty in the final version resonates. This was the first song recorded for the upcoming album, and while it’s possibly the densest track, the emotional experience was cathartic, making it a fitting first release. Graham Hopkins contributed drums, shaping the composition, and Aubrey added a violin section that acts as a “Taps” for Darian’s memory.
‘Curtains Close’ serves as the B-side to ‘Darian’s Dirge’ and it’s another highly introspective and emotionally raw piece of music I’ve fallen completely in love with. Please tell us a bit about what the songwriting process for ‘Curtains Close’ looked like and how you transformed the idea into a song.
Thank you that is the most recent song I wrote. I wrote it in January this year. I see it as the flip side of grief, exploring how memories fade over time and reflecting on my own mortality. It was written and recorded quickly and effortlessly, intended as a B-side to ‘Dirge’.
Who would you put down as some of your biggest musical influences and who would you ultimately credit for helping shape and form your overall sound?
Bands like Bright Eyes, Manchester Orchestra, Kevin Devine, MewithoutYou, Elliott Smith, Glen Hansard, Leonard Cohen, Kendrick Lamar, and Jason Isbell greatly influence my music approach.
I’m always intrigued by the story regarding artists’ or bands’ names…How exactly did The Spinning Game come about?
The Spinning Game refers to a childhood game where we spun in circles, and the last one standing won. Initially, it was a nostalgic nod to innocence. As I’ve matured, I’ve come to see it as a metaphor for existence, as in “the turning wheel of Dharma” reflecting the roles we play and the egos we inhabit.
If you were allowed to “steal” one song in the world and claim it as your own, what would it be and why?
It’s hard to pick just one song, but here are four:
‘Suzanne’ by Leonard Cohen for its perfect blend of the sacred and profane in a beautiful composition.
‘If We Were Vampires’ by Jason Isbell – a flawless love song that avoids clichés.
‘The Last Time I Saw Richard’ by Joni Mitchell, which captures the loneliness of being a hopeless romantic with stunning chord changes and vocals.
‘Mother I Sober’ by Kendrick Lamar, which moved me deeply with its brutal honesty about the human condition, transforming darkness into catharsis.
What are your thoughts regarding the music industry of today? And, if you could, what changes would you make to it?
I’m distanced from the music industry, solely focused on creating great art without concern for fame or money. Fame seems elusive and often shatters those who achieve it. As a fan, I wish artists didn’t have to be influencers and that the album as an art form would regain prominence, rather than being diluted by bloated deluxe versions for streaming numbers. I might just be an anachronism.
What, to you, is music’s role in society?
I see music as a panacea for the soul. It has the power to shift societal emotions and politics, but real change occurs at the individual level. Music serves as a communication tool and an expression of profound emotions, embodying the dichotomy described in Nietzsche’s ‘The Birth of Tragedy’ where music is both Apollonian and Dionysian.
Matthew, it’s been a pleasure getting to know you better! Thanks again for taking the time! Before we say farewell, what comes next for you musically and, I guess in a broader sense, what do you hope your musical future has in store?
Thank you for having me! We are working diligently on a full-length concept album to be released soon. I have other projects in mind but I’m not rushing into them. Returning to The Spinning Game has revealed much more to express and communicate, and I find that stories I thought were finished still have life. I’m always writing and recording, eager to share this art with those it resonates with.
