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Los Angeles, California, United States | INDIE

Los Angeles, California, United States | INDIE
Band Folk Country


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First of all, I adored this album because it reverberated with the soothing quality of Iron & Wine; secondly, because of the intriguing and original concept behind the album. Each song is titled after a month of the year, reflecting that specific month in a respective year of Nathan Moomaw's life. This album is folkie and eerie like Devendra Banhart, but is sublimely subdued and quirky like Kings of Convenience. Unpredictable at its best, 26 is an acoustic personal journey through Nathan Moomaw's most private thoughts--think Fevers and Mirrors by Bright Eyes sans the depression. Instead of dark suicidal melodies, Moomaw uses lighthearted chimes, innocent guitar cords and laid back, Damien Jurado-esque vocals to convey a sense of heartbrokenness atop a sense of human accomplishment, making 26 one of my favorite lo-fi albums of 2008. - Slug Magazine

...genuinely breathtaking songs! The sincere lyrics and soft, lo-fi vocals are backed by a very folk-country sound... kind of like Iron & Wine, but there are more experimenting with styles and instruments. Essentially, 26 lets the listeners peek into the personal journey of Nathan Moomaw; in a way, we get to witness Nathan’s growth from a twenty-six year old musician with a brilliant idea for an album to a twenty-seven year old musician who just completed a strikingly ambitious project. - Lycanthropy

Moomaw, celebrating the release of his CD 26, braved the reverb chamber of chatter in the room with his breed of understated kitchen sink folk. Looping musical saw melodies, tabla and some keys underneath his deftly plucked guitar, the mild-mannered Moomaw was just shy of confessional and sometimes reminiscent of the sunnier side of Donovan as he charmed onlookers for most of his set. I found myself wishing I was listening to him around a campfire with a handful of friends for full effect. The tune “September,” with its quiet annunciations and color metaphors, recalls a time when Kings of Convenience, Iron and Wine and M. Ward ushered in the “Quiet is the New Loud” era with their low decibel indie folk, before their musical “careers” and compositions became more grandiose, and some dude named Bon Iver had to lock himself in a cabin for a year to rediscover the elusive Q. - Bay Bridged

He creates an easy style of folk music {an almost fairytale quality folk music} that is as much at home this year as it will be twenty years from now. - The World Forgot

...“26”, an enchanting sequence of songs focused on folk sounds, which the scattered hints of psychedelia à-la Olivia Tremor Control do not distract from a gentle songwriting, leitmotif of the whole album. - Ondarock

..refreshing with well-executed depth and texture, every song evoking new themes and sounding distinct from the last. The tracks flow effortlessly into the ears, and while his winsome lyrics may be glossed over at first, they easily stand on their own. Moomaw’s gentle voice, acoustic guitar, ukulele, glockenspiel, saw (of the woodcutting variety), various percussives and friendly chuckle make for a complex, lo-fi, gypsy-delic folk romp that is both entrancing and relaxing. - The Skinny


26 (LP - 2008) - self-released national release (press and radio) on Gazebo Music
Tall Oaks From Tiny Acorns Grow (EP - 2005)



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