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Amen Dunes

Amen Dunes was the solo musical project of American and Damon McMahon, active from 2006 to 2024, known for its atmospheric blend of , , , and elements that evolved across improvised lo-fi beginnings to more structured, sample-heavy compositions. Originating from a series of raw, improvised recordings captured on an in a trailer in during the fall of 2006, the project was initially shelved as McMahon relocated to , where he paused music-making for several years amid personal exploration. The debut album D.I.A. emerged in 2009 via Locust Music, earning underground acclaim for its haunting, ethereal sound and prompting McMahon—originally from Philadelphia and later based in Brooklyn—to form a live band and tour the US and Europe. Subsequent releases included the EP Murder Dull Mind (2010, Sacred Bones), the album Through Donkey Jaw (2011, Sacred Bones), Spoiler (2013, Perfect Lives), and Love (2014, Sacred Bones), showcasing a progression from sparse, improvisational folk to fuller, more melodic arrangements influenced by McMahon's global travels and experimental production techniques like tape manipulation and analog processing. Later works such as (2018, Sacred Bones) and the final albums Death Jokes (2024) and its remix counterpart Death Jokes II (2024, both via ) incorporated electronic textures, cultural critiques, and personal reflections on themes like violence, identity, and impermanence, marking the project's conclusion after six studio albums and three EPs. Throughout its run, Amen Dunes collaborated with musicians like Jordi Wheeler and Parker Kindred, and 's meticulous, outsider approach—eschewing routine music listening in favor of intuitive creation—cemented its reputation for introspective, genre-defying artistry.

Background

Formation and Origins

Amen Dunes was formed in 2006 by as a solo recording project, emerging from a period of deliberate isolation in a trailer in the Catskills region of . , who had previously played in various bands in , sought solitude to experiment freely without external pressures, drawing inspiration from the seclusion to create music unmoored from conventional structures. This solitary endeavor was not intended for public performance or at the outset, reflecting 's focus on private artistic exploration rather than a band-oriented venture. The project's initial recordings embodied a , self-produced aesthetic, utilizing an recorder, a guitar, and minimal setup to capture improvised sessions in a lo-fi manner. Influenced by experimental traditions like those of early and pioneers, layered sounds to evoke a sense of and psychological depth, emphasizing personal themes over polished production. This approach aligned with broader lo-fi movements that valued authenticity and imperfection, allowing the music to serve as a conduit for McMahon's inner reflections during a time of personal transition. The debut album, D.I.A., was recorded entirely by McMahon in that 2006 Catskills trailer (Shandaken, NY) and marked Amen Dunes' conceptual foundation with its blend of spoken-word passages and industrial-tinged elements, creating an atmospheric, meditative soundscape. Released in 2009 on the Locust Music label, the album encapsulated the project's origins as an introspective experiment, with no immediate vision for live renditions or expansion beyond the recordings themselves. This release solidified Amen Dunes as a vehicle for McMahon's solitary pursuit of emotional and spiritual inquiry through unconventional sonic forms.

Damon McMahon

Damon McMahon, the creative force behind Amen Dunes, was born in , , and raised in the suburbs of in a culturally inclined household that exposed him to diverse artistic influences from an early age. Growing up surrounded by peers interested in , , and , McMahon also developed an affinity for punk and folk scenes, drawing inspiration from acts like and during his formative years. In his early 20s, pursued music through involvement in the band Inouk and an unsuccessful folk-oriented stint with the electronic label , marking the beginning of his songwriting in the early 2000s. These experiences laid the groundwork for his solo endeavors, culminating in the formation of Amen Dunes in 2006 as an extension of his independent work. Throughout his career, has served as the sole creator, performer, and producer for the majority of Amen Dunes' releases, selectively incorporating occasional collaborations based on his artistic vision. McMahon's personal life has been shaped by significant relocations and travels that informed his creative process, including a period as an expatriate in around 2007, where he lived in cities like and . Later moves took him to in the late 2010s and , before returning to the East Coast in 2021 with his wife and their two young children; his family, spanning multiple generations of New Yorkers, has provided ongoing emotional and cultural context for his work.

Career

Early Releases (2006–2012)

Amen Dunes, the solo project of Damon McMahon, originated with a series of improvised recordings made in the fall of 2006 in a trailer in , marking the beginning of an experimental phase characterized by lo-fi, bedroom-style production. These initial tapes were set aside initially, reflecting McMahon's solitary approach to songwriting and recording during a period of personal isolation. The project's early output emphasized raw, atmospheric soundscapes influenced by , , and elements, often created without collaborators or formal studio setups. The debut album, D.I.A., compiled from those 2006 Catskills sessions, was released on , 2009, by Locust Music as a full-length and . Recorded alone in a remote , the album features hazy, drone-infused tracks blending alternative , , and experimental , with a runtime of approximately 43 minutes across eight songs. Its limited pressing and underground distribution aligned with the era's DIY ethos, garnering attention primarily within niche psychedelic and circles for its claustrophobic, introspective tone. Following a in , McMahon shifted to , releasing the Murder Dull Mind EP on July 27, 2010, as a 12-inch limited to 500 copies. Captured during his time abroad, the seven-track EP delves into sunlit yet hazy and experimentation, with tracks like "Diane" and "Ruined Girlies" showcasing spoken-word elements and tape manipulation in a bedroom-industrial style. This marked the label transition, enabling broader but still limited access to Amen Dunes' evolving sound. The early period culminated in 2011 with Through Donkey Jaw, a full-length issued on August 16 by Sacred Bones, featuring eight tracks recorded primarily by on an 8-track recorder. The release expanded on prior experimentalism with harsh folk and psychedelic structures, including contributions from drummer Parker Kindred on select songs, while maintaining a lo-fi aesthetic through self-performed . In 2012, McMahon self-released the Ethio Covers 7-inch EP, a limited edition of 300 copies featuring three anonymous covers of Ethiopian pop songs recorded in a basement in August 2009, highlighting the project's interest in global influences and downer reinterpretations during this formative underground phase.

Breakthrough and Mid-Career (2013–2020)

In 2013, Amen Dunes released the EP on Perfect Lives, a collection of recordings from 2009 to 2011 that marked a departure toward more deliberate structures and atmospheric experimentation, blending fragmented instrumentals with emerging lyrical . This release hinted at the project's evolution from earlier lo-fi improvisation, setting the stage for broader recognition. The 2014 album Love, issued by , represented Amen Dunes' commercial breakthrough, earning widespread acclaim for its hypnotic psych-folk soundscapes and refined production. Recorded primarily in with contributions from members and David Bryant as producers, alongside saxophonist , the album featured swirling guitars, ethereal vocals, and themes of memory and vulnerability, as heard in standout tracks like "Lonely Richard" and "Splits Are Parted." Critics highlighted its immersive quality, with praising its "elemental songs about time, love and memory" that felt both personal and universal. Love's success propelled Amen Dunes into festival appearances and initial tours, including U.S. dates supporting acts like and European shows in 2014. Following Love, the 2015 Cowboy Worship EP on Sacred Bones further explored remixed and reimagined material from the album, incorporating orchestral elements from and vocalist Jen Reimer to deepen its textures. This period saw Amen Dunes incorporating live band dynamics, with McMahon assembling a rotating ensemble for performances that emphasized communal energy over solo experimentation. By 2017, the project had expanded its production scope, integrating fuller instrumentation during rehearsals and early shows across and . The 2018 album , also on Sacred Bones, solidified Amen Dunes' mid-career peak, blending rock, folk, and subtle jazz-inflected improvisation through collaborations with on , Iceage's Bender Rønnenfelt on vocals, and as producers and musicians. Recorded across at and additional sessions in , the album delved into themes of identity, family, and , with tracks like "Blue Rose"—released as a in February 2018—showcasing funky basslines and raw emotional delivery. 's polished yet adventurous sound, influenced by '90s and global rhythms, was lauded for its euphoric accessibility, earning spots on year-end lists from outlets like and . Extensive touring followed, including headlining U.S. and European dates through 2019–2020, where the live band—featuring drums, bass, and horns—brought the album's layered arrangements to vibrant, improvisational life at venues like and festivals such as .

Final Phase and Conclusion (2021–2024)

In 2021, Amen Dunes released the single "Feel Nothing" featuring Sleaford Mods via Sub Pop on July 6. In the final phase of Amen Dunes, Damon McMahon focused on completing the project's culminating album, Death Jokes, which he began developing in the fall of 2019 and took nearly four years to finalize amid personal challenges including illness and multiple failed collaborations. Released on May 10, 2024, via Sub Pop, the album marked a stylistic expansion for Amen Dunes, incorporating electronic elements, programmed drum loops, samples from sources like J Dilla and Lenny Bruce for humorous stand-up interludes, and rock influences such as Type O Negative riffs, alongside reggae guitar and polyrhythms. This built on the rock-oriented sound of the prior album Freedom (2018), evolving toward a more eclectic critique of American culture and the emotional toll of the pandemic. To promote Death Jokes, Amen Dunes undertook live performances throughout 2024, including a notable in-studio session for KEXP recorded on August 14 in , where McMahon and his band—featuring drummer Craig Weinrib—performed tracks like "Boys," "Exodus," and "Purple Land" in a stripped-down yet energetic format. The session, released online on , highlighted the album's blend of raw emotion and rhythmic drive, drawing an audience in KEXP's Gathering Space and underscoring the project's live vitality during its wind-down. On December 10, 2024, McMahon announced the conclusion of the Amen Dunes project after 18 years, designating Death Jokes as its final original album and releasing Death Jokes II simultaneously via Sub Pop as the definitive closing chapter. The remix album reworks tracks from Death Jokes with producer Craig Silvey, featuring contributions from artists including Panoram, Kwake Bass (known for work with MF DOOM and Dean Blunt), Christoffer Berg (of Fever Ray), and Robbie Lee, resulting in a more lucid and detangled sonic exploration. McMahon explained the project's end in a statement reflecting personal closure, stating, "This is the last chapter of the final volume. Goodbye, I’ve barely said a word to you, but it’s always like that at parties... Let’s hope that when we are dead things will be better arranged," signaling a desire to move beyond the Amen Dunes moniker after its evolution through multiple phases. This decision aligned with his ongoing artistic growth, allowing for new directions outside the established framework.

Musical Style and Themes

Genres and Evolution

Amen Dunes' early work from 2006 to 2012 was characterized by lo-fi folk and experimental rock, often featuring distorted, claustrophobic soundscapes that evoked inner turmoil and spiritual introspection. The debut album D.I.A. (2009) exemplified this with its raw, monotone vocals and droning hums, drawing from influences like Syd Barrett and Roky Erickson to create a hazy, static-rimmed aesthetic that appealed to the lo-fi crowd. Industrial elements emerged in bedroom recordings, blending harsh folk with layers of distortion and meditative insularity. Additionally, the 2012 EP Ethio Covers incorporated Ethiopian-inspired covers of pop songs, reflecting global music influences heard through apartment walls and adding an outsider's take on exotic rhythms. The project's sound evolved toward psych-folk and with the 2014 Love, introducing reverb-heavy guitars and more melodic structures that expanded beyond solo experimentation. This shift marked a grander production, with elastic vocal stretches and psychedelic indie folk arrangements featuring collaborators like members of and , creating an open, emotional canvas. By Freedom (2018), Amen Dunes incorporated jazz-infused indie elements, including brass accents, improvisation, and groovy basslines that hallucinated classic-rock vibes with accessible pop-rock accessibility. Produced by Chris Coady, the blended psychedelic synths, moody hooks, and funky rhythms, moving from dense lyrics to euphoric, silvery romance. This progression culminated in Death Jokes (2024), a self-produced blend of , eclectic sound collages, and humorous spoken interludes filtered through warped beats and garbled samples. The album's neo-psychedelic and elements, including thrumming chords and primitive drums, represented a chaotic return to roots while embracing post-modern fragmentation. Its remix counterpart, Death Jokes (2024), further stripped and reworked these tracks, emphasizing fragmented and thematic resolution. Influences throughout Amen Dunes' catalog draw from American songwriters like , evident in the folk-song foundations and personal lyricism, alongside global Ethiopian sounds and punk's raw frustration. Production evolved from solitary bedroom sessions in trailers—using improvised, DIY tape manipulation and analog processing—to multi-instrumental collaborations in professional studios. Early releases like D.I.A. and Through Donkey Jaw (2011) were largely solo endeavors with hazy, downer atmospheres, while later works involved ensembles for fuller, layered textures. By and beyond, this opened to broader sonic palettes, though Death Jokes circled back to self-directed experimentation amid failed collaborations.

Lyrical and Thematic Elements

Amen Dunes' lyrics, crafted by Damon McMahon, recurrently delve into themes of isolation, mortality, identity, and humor as a counter to existential dread. Isolation emerges prominently in early works, reflecting McMahon's solitary creative process in a Catskills cabin and his upbringing marked by emotional distance from family. Mortality weaves through the catalog, often tied to personal losses like his mother's death from cancer, evoking fears of temporality and the need for peace with life's impermanence. Identity explorations frequently center on ego dissolution and fragmented selves, drawing from McMahon's Jewish heritage, childhood experiences, and archetypal figures like surfer Miki Dora or Emperor Nero as flawed heroes grappling with inner conflicts. Humor, particularly in the 2024 album Death Jokes, serves as a playful antidote to dread, positioning death as a protagonist in vignettes that tease human importance and societal violence through "death jokes" inspired by comedians like Lenny Bruce and Richard Pryor. McMahon's lyrical style is abstract and poetic, blending narrative-driven stories with personal anecdotes to evoke vulnerability. Songs often unfold as vignettes featuring anti-heroes or autobiographical fragments, such as reflections on childhood in "Mary Anne" or his mother's influence, creating a rhythmic phrasing that prioritizes emotional resonance over literal meaning, akin to Bob Dylan's approach. This narrative intimacy incorporates non-traditional structures, including spoken-word samples—like a child's rendition of a pep talk or artist Agnes Martin's quotes—to bare emotional rawness and challenge conventional song forms. Thematically, Amen Dunes' work evolves from desolation and introspection in early releases to broader explorations of and in mid-career, culminating in acceptance and later on. Initial albums emphasize inward isolation and self-consolation amid personal struggles, while the 2014 album shifts toward relational dynamics and addiction as forms of self-loss, fostering a sense of timeless connection. Mid-period works like 2019's introduce themes of relinquishing ego and forgiving the past, influenced by familial ties and life's passage. Later efforts, including Death Jokes, prioritize liberation from the "mortal coil" through Vedanta-inspired non-dualism, transforming grief into exultant . Representative tracks illustrate these elements: "Lilac in Hand" from narrates relational unease and discomfort in one's skin, evoking broader interpersonal tensions. "Time" from contemplates the passage of life through Jewish historical lenses, spanning from ancient times to modern traumas like , underscoring identity and temporal flux.

Discography

Studio Albums

Amen Dunes' debut studio album, D.I.A., was recorded in November 2006 on an 8-track recorder in a trailer in , and released on April 14, 2009, by Music. The lo-fi experimental record features 8 tracks and marked Damon McMahon's initial foray into the project. Following a period of limited activity, Through Donkey Jaw arrived as Amen Dunes' second studio album, recorded during a 30-day stretch in January 2011 and released on August 16, 2011, via . The folk-leaning effort spans 14 tracks and represented a return after nearly five years since the prior recordings. Spoiler, the third studio album, was recorded over the course of 2009–2011 and released in September 2013 on limited-edition vinyl by Atelier Ciseaux (also known as Perfect Lives). Featuring 5 experimental tracks including " Under the Stairs" and "Camels in ," it collected previously unreleased material blending and instrumental elements. Love, the fourth studio album, was primarily recorded in 2013 at studios in , including with collaborators from , and released on May 13, 2014, by . Comprising 11 tracks, it served as a breakthrough in the psych-folk vein during McMahon's mid-career phase. The fifth album, , was tracked mainly at in and completed at Sunset Sound in , with production by Chris Coady, before its release on March 30, 2018, through . Featuring 11 tracks, the jazz-rock hybrid explored themes of introspection amid evolving personal circumstances. Amen Dunes' seventh and final studio album, Death Jokes, was released on May 10, , by Records, encompassing 11 tracks of eclectic rock. It concluded the project's run, reflecting on mortality and closure after nearly two decades.

EPs, Singles, and Remix Albums

Amen Dunes released its first EP, Murder Dull Mind, on July 27, 2010, through as a 12-inch . The release featured seven tracks—"Periodico de Ayer," "Diane," "Murder Dull Mind," "Night Driver Sunriser," "Ruined Girlies," "Marble Coolie Hat," and "Yur A Liar"—characterized by raw, bedroom-recorded experimental sounds blending elements and harsh influences, marking an early phase in Damon McMahon's project. This EP served as a bridge between the debut album D.I.A. and subsequent works, showcasing McMahon's initial explorations in lo-fi psychedelia. In 2012, Amen Dunes self-released the EP Ethio Covers as a limited 7-inch vinyl. Consisting of three untitled covers of Ethiopian pop songs from the 1960s and 1970s—simply labeled "Ethio Song," "Ethio Song II," and "Ethio Song III"—the EP reinterpreted the originals in a subdued, meditative style with droning guitars and minimal arrangements, reflecting McMahon's interest in global music traditions during a transitional period. Limited to a small run, it functioned as an experimental side project outside major label distribution. The EP Cowboy Worship followed on January 20, 2015, via , available digitally and as a limited cassette. It included six tracks: "I Know Myself ()," a of Tim Buckley's "," "I Can't Dig It (China Street )," "Green Eyes (Music )," a reworking of "Lezzy Head" by , and "Love ()." Released shortly after the album Love, the EP experimented with covers, live recordings, and alternate takes, emphasizing collaborative and improvisational elements to extend the album's thematic reach. Among early singles, "Bedroom Drum" emerged in 2011 as a promotional track tied to the album Through Donkey Jaw, featuring a video directed by Jesse Hlebo and highlighting McMahon's folk-psychedelic style with echoing vocals and sparse instrumentation. Later singles included "Lonely Richard," released digitally on February 19, 2014, by Sacred Bones Records as a preview for the upcoming album Love, with its soaring refrain and boogie lament structure signaling a shift toward more structured songwriting. "Blue Rose" was issued as a promotional on February 14, 2018, through Sacred Bones, serving as the second single from and noted for its flowing momentum and identity-themed lyrics. Similarly, "Miki Dora" appeared as a January 2018 promo from the same label, acting as the for with its funky bassline and narrative about a fraudulent surfer. In 2021, "Feel Nothing" was released on July 6 via as a digital single featuring , standing alone as a collaborative track blending Amen Dunes' with the duo's spoken-word . More recently, "Purple Land" debuted as a digital single on February 8, 2024, through Sub Pop, functioning as the lead promotional release for the album Death Jokes and exploring themes of cosmic wisdom and fear through enigmatic, Freedom-era-inspired arrangements. The sole remix album, Death Jokes II, was released on December 10, 2024, by Sub Pop Records, reworking all tracks from the earlier Death Jokes into 10 stripped-down versions produced primarily by Craig Silvey. The tracklist includes "Ian (Sunriser)," "What I Want (Night Driver)," "Exodus (Do It)," "Rugby Child (300 Miles Per Hour)," and others, incorporating contributions from artists such as Panoram, Kwake Bass (known for work with Dean Blunt and MF DOOM), Christoffer Berg (of Fever Ray), and Robbie Lee, resulting in lucid, melody-focused reinterpretations that pared back the original's density. Intended as the final Amen Dunes release, it provided a reflective conclusion to the project by emphasizing core emotional elements over layered production. Amen Dunes has made occasional appearances on compilations, such as contributing tracks to samplers in the early 2010s, though these remain supplementary to the core non-album output.

Reception and Legacy

Critical Response

Amen Dunes' early releases, particularly the 2009 debut album D.I.A., garnered praise in circles for their raw, innovative soundscapes that evoked inner-space reminiscent of and , with Damon McMahon's monotone, distorted vocals creating a claustrophobic intimacy. Critics highlighted the album's droning loops and solitary feel as boundary-expanding within the , though it received a modest aggregate score of 74/100 based on limited reviews. The project's breakthrough came with subsequent albums, earning broader acclaim for emotional depth and genre experimentation. (2014) was lauded for its ambitious expansion into psychedelic , with contributions from musicians like those in and , achieving an 7.8/10 from for its grander arrangements and introspective vulnerability. Similarly, (2018) marked a euphoric high point, blending psychedelic with classic-rock and dance elements through collaborations with artists like ; awarded it 8.6/10 and Best New Music status, praising its silvery romance and themes of grief and self-empowerment. Death Jokes (2024), the final Amen Dunes album, received mixed but predominantly positive reviews, with scoring it 7.6/10 and commending its mature, blunter lyrics and warped influences that delivered a compassionate take on apocalyptic themes. The remix counterpart Death Jokes II (2024) also earned positive notices, with describing it as an "exhilarating, frustrating, wonderfully flawed record" that refined the original's conceptual ambitions through reworked tracks. Reviewers appreciated the record's forceful evolution while noting its conceptual density as occasionally overwhelming. Overall, Amen Dunes maintained consistent favor among critics, with frequently appearing on 2018 year-end best albums lists, including #7 in Stereogum's readers' poll and placements in The Guardian's writers' selections. The project was often celebrated for its progression from lo-fi experimentation to polished, affecting rock. Criticisms of early works occasionally centered on their inaccessibility, with reviewers citing the spectral haze and low-fidelity production of albums like D.I.A. as confusing or overly insular, stemming partly from McMahon's DIY recording constraints. Later releases were contrasted as more approachable, highlighting this as a point of evolution rather than flaw.

Influence and Cultural Impact

Amen Dunes' early releases, such as the 2009 album D.I.A. and 2011's Through Donkey Jaw, played a key role in the 2010s resurgence of lo-fi and psych-folk aesthetics, blending raw, improvisational recordings with psychedelic elements on the Sacred Bones label, which highlighted such experimental sounds in its catalog. This contributed to a broader revival of the genre, drawing from influences like Bob Dylan and 1960s psych-folk bands while pushing boundaries with bedroom industrial and harsh folk textures. The project's signing to Sub Pop in 2021 for Death Jokes further diversified the label's roster, integrating Amen Dunes' evolving sound—spanning folk, rock, and electronic elements—alongside punk, grunge, and indie acts. Tracks from Amen Dunes have appeared in various films and television shows, enhancing the project's cultural footprint; for instance, songs featured in the 2014 film , the 2016 horror movie , the TV series The Path (2016), and (2018). These placements, alongside growing availability on streaming platforms, have expanded the audience for Amen Dunes' introspective and atmospheric music, fostering a dedicated fanbase in the indie scene. The 2024 announcement of Amen Dunes' conclusion with the remix album Death Jokes II marked the end of Damon McMahon's 18-year project, prompting reflections on finales in indie music as a means of artistic renewal rather than exhaustion. Released on December 10, 2024, via , the album reworks tracks from the earlier Death Jokes, celebrating closure and influencing discussions on how musicians navigate long-term creative arcs. Amen Dunes' catalog has been preserved through archival efforts by Sacred Bones, including a reissue of for the label's 15th anniversary, which has supported retrospective analyses of the project's evolution from lo-fi origins to polished psych-rock. These releases ensure ongoing scholarly and fan interest in McMahon's contributions to experimental folk.

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