Last Nights Presents:MV & EE - recently released "Country Stash" (Three Lobed) & "What I Became" (Woodsist) Praise for "Country Stash" & "What I Became": "Country Stash must stand as one of this artist’s most definitive and important releases to date, a release which seems to combine all those elements of psychedelic spectrasound, carefully-crafted real songs and the influence of those extended live jams all into a single album." -Andrew Ross (Volcanic Tongue) Since what seems like the dawn of time, Matt "MV" Valentine has been cranking out (and cranking out) albums[…] Normally, such obsessive ejaculating of music eventually paralyzes creativity and castrates consumer interest, but with MV each sweet release is always a fresh endeavor. We can't help it; those irresistible rural psych nuggets make us weak[…] the best time to get into MV may have been years ago but don't fret… the nth best time is right now because he is to release his latest record, What I Became[…] - Tiny Mix Tapes Amen Dunes - 2nd full-length LP "Through Donkey Jaw" (Sacred Bones) out August 16th Praise for previous full-length DIA: "I expected the cleverly-named Amen Dunes album entitled Dia to either serve more triple-layer lo-fi baked goods or some "freaky" (if unthreatening) country folk, but not both. Of course, it sounds natural, and effortless, and happens to be a scruffy, acoustic contribution to the lo-fi brigade, but sounds like dude isn't platting an overthrow, just making really good music." - Jeremy Krinsley, Impose Magazine "As McMahon's tunes sharpen and deepen, he becomes like an American cousin to Kiwi songsmiths Alastair Galbraith, Chris Knox, and brothers Graeme and Peter Jefferies [...] The key to how McMahon can evoke those greats and still bring some of himself to the mix is his voice. On the surface his singing sounds raw and monotone, pitched in a droning hum and distorted at the edges. But listen closely and you can hear subtl changes that give DIA a surprising diversity. On "White Lace", his singing rises sharly, pulling his guitar along with it. He alternates tough moans and eerie falsettos in a Barrett-ish "Castles", and ghosts of know and Galbraith emerge via his openly earnest croons in "No Shot". By album's end, McMahon's meditative hums are pratically all that's left, like shells on a beaten shore glistening in the sunset. " - Marc Masters, Pitchfork Eleven Twenty-Nine - S/T debut (Northern-Spy) out now www.northern-spy.com/artists/ Praise for Eleven Twenty-Nine: “…zenith-ascension & raga blend(ing)s of clark hutchinson band & even the more guitar-centric bits in the popol vuh canon … no doubt in my mind that these are visionary players both, equally at ease pealing off “travelogue” lineage modal / pedal-point interplay, acoustic lap-steel / resonator glissandi, and even some heavy, amp-worship zones that point towards a blend of loren mazzacane connor’s bedroom confessionals & hendrix’ octaviated space-madrigals…” - “Tom and Marc have metabolized the folk, blues and rock forms to create a whole new dialect for guitar” - Jeff Conklin, East Village Radio |
