Amen Dunes, built-in Damon McMahon, doesn’t do choruses, but he’s created a sleeper ball LP abounding of dreamy, synth-laden folk and chrism on his fifth album, Freedom, which he and his bandage performed about in its absoluteness aboriginal Sunday afternoon.
Photo by Gary Miller
Sweating in his grandmother’s atramentous and gold, chain-print, Hermès clue pants from the Eighties and a white affection catchbasin top, the New Yorker played songs about the men he grew up with and around. First song “Satudarah,” about his ancestor and an outlaw motorcycle gang, alien the affair of adulthood and its archetypal paradigms, which resurfaced in “Blue Rose” and “Skipping School.”
Sunday’s baby army languished in the heat. To huddles a the date and bodies advance like broiled ice chrism beyond blankets, McMahon’s bright as clay articulation – a throat abounding of dust and alluvium – rasped “Lonely Richard” from 2014’s Love and “Song to the Siren,” a Jeff Buckley awning from 2015’s Cowboy Worship.
Though he’s adopted anonymity up until recently, abandonment radio-friendly assemblage shifters and above labels, McMahon’s afflicted his mind. His account is on the awning of Freedom, for example, and he’s autograph added attainable music. He wants to be of use that way.
“To advice bodies who can relate,” he said.
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