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Heavy Chains of Sorrow & of Defeat

by Man of Multnomah

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about

"Every once in a wonderful, rare blue moon, something comes along and enters your life with such surprise and enlightenment. You have a desperate desire, then, to share this thing, or things, elements, whatever they may be, and afford comments about to those you know will share in that same surprise and wonder. The sharp and difficult trick you find that exists in these moments is that they offer something so remarkably unique, refreshing, illuminating, delightful, and introspective, that they happen to transcend language to even begin to express them. The concept is to find words to somehow translate the feelings that are emitted; to attempt to bridge a gap between the one thing, and to connect to another. The new recordings of Aaron Edge / Man of Multnomah are not only very much like this, but they define a perplexing position even to one who is very accustomed to navigating through these cornucopian spaces of expressionism. These two EPs, 'Heavy Chains of Sorrow & of Defeat' and 'Close Your Eyes, Perhaps Everything will be OK', are sparse, potentially minimalist creations produced by a strange, braided, and lovingly strained nature of banjo and untraceable industrial acoustic-driven elements. Each note between these songs is a devoted lover of one another, sharing precious secrets they’ll take to their graves. These beautiful and often frightening, revealing songs are communicating not just with us as voyeurs of a time and place long past, or perhaps even yet to come, but with each other. These are atmospheric sounds in the very midst of sharing joy and promises, sweetness and sadness, all in equal gravitating measures. Man of Multnomah has created a breathtaking, heart-holding series of love & death soaked music. Every gently reverberating moment within these two albums reveal songs of making hell-or-high-water promises and plans, and aiming to keep them. And right along with them, so will you."
— Stephen Kasner

“This isn’t banjo driven music as you’re used to hearing it, nor as you’d expect it. Yes, there are the slightest hints of sounds of Appalachia, but this is not front porch, toe tapping music. Simultaneously beautiful and hauntingly dark, the uplifting moments are met with force by something much more bleak, more debilitating, more isolating. The addition of other instrumentation and soundscapes drags the banjo, this mainstay of American folk music, deep into the woods of the Pacific Northwest, and leaves it to rediscover itself in the rainy darkness. This isn’t banjo driven music as our great-grandfathers learned, passed down from their fathers, and their father’s fathers. This is banjo driven music through a lens of darkness, more at home amongst the likes of Neurosis than Earl Scruggs.”
— Shane Peterman

“What’d the devil give you for your soul, Tommy?” “Well, he taught me to play this here guitar real good.” “Oh son, for that you traded your everlasting soul?” “Well, I wasn’t using it.”
"The above conversation between Everett, Tommy, and Pete in the Coen Brothers’ film ‘O Brother, Where Art Thou’ fell into my brain like a heavy drizzle upon listening to Aaron Edge’s ‘The Heavy Chains of Sorrow And of Defeat’ (under his new musical endeavor, 'Man of Multnomah'). It’s clear he’s adept with a guitar, but with the addition of a banjo after a bet with his dad, the auditory weight he’s known for, meanders into uncharted territory. Ethereal, and haunting, each track worms its way into your brain and leaves you eager to return for further investigation. Each track possesses Aaron’s signature weight, but offers a strange, almost other-worldly calm. Do the songs of ‘The Heavy Chains of Sorrow And of Defeat’ present a lighter side of Aaron Edge? Only the devil knows for sure."
— Stevil Kinevil

"Man of Multnomah's tracks are an armed forces anthem of rhythms to inspire one to march straight to a firing line against your own best interest. Desolate tones and harsh distortion make you grin, ever so slightly, your teeth grind through to the last note. You can feel the spirit of Neil Young tear at your heart strings and beg for your assistance in digging your own sonic grave. Some tracks could accompany any episode of 'Deadwood', and brings to mind a montage of toothless, black handed gold miners and mud booted dime whores still sweaty from the last John and ready as ever for the next dandy to come lay. Others stop you dead in your tracks and be happy that you forgot where you might have been headed... slow, drawn out, and still wildly interesting. Still others, like a signature from Mr. Edge (familiar or not as you might be with his discography), are long, with a slow kill at the end of the dance you waited for all night - a mark he's left on a quite a few releases. The material set me up for the knife in the side that I never saw coming. No single Man of Multnomah song is as good as the sum of it's parts, and still each track is a treasure. Highly recommended for those with tough ears, a strong stomach, and half a mind to ride the last horse out of town at dawn. Aaron nailed these songs. They make you feel like you’re out shopping for your own coffin, find the perfect fit, and say ‘Fuck it, I’ll dig the hole now’. And you smile at each jab of the shovel.”
— Rob Lovell

"Listened to the whole album while working last night and it was perfect for doing so, I love it! To do this on banjo is mind blowing to me as I cannot remember enjoying the instrument before now."
— Rich Paulk of The Paulk

“...instead of bullshit washboard bluegrass, when I heard this I immediately thought of something that I really enjoy.”
— Thomas Wilson

"It's bitter sweet to hear a banjo emote and manifest a character so removed from expectation. Aaron pulls the tone out from underneath this instrument and exposes a vulnerability in its sound that want's to stay hidden under the celebratory norm, but the depth in its endearing and audibly colder, more isolated movements serve to bring something very powerful to the listener. This music haunts and remains present with something strong that isn't easily shaken off."
—Jim Lowder

“Rules are meant to be broken, and Aaron Edge knows just the right ways to do so. These are songs composed for the banjo with seemingly no regard for the ‘right’ or ‘proper’ way to make Americana music. And yet it's still nostalgic. Ushering in old feelings with a new language to describe them. The pluck and strum of (literally) his father's banjo meets the somber drone of bands like Lungfish and Eyehategod, played more in the style of post-rock outfit Godspeed You! Black Emperor. And if I'm making this sound a bit simple, just listen to the crescendo and layering of ‘Neither Iron Nor A Horse’ or the harmonies in the middle of ‘Presto Manifesto.’ You'll see.”
— Tim Wesolowski

“Man of Multnomah's use of brooding drones and a lonesome banjo creates a sense of overwhelming solitude in a vast, cold landscape. Here, there is a feeling of self-reliance based upon the need for self-preservation. Lonesome, sure, but there are more valley’s and peaks to these soundscapes to avoid feeling one-dimensional. If you find yourself listening to the likes of Daniel Bachman, but wishing he were a bit more influenced by Sleep’s Dopesmoker - you’ll find good company in Man of Multnomah.”
— Brandon Day

“The multi-talented Aaron Edge, known through darker metal and hardcore recordings for twenty years, surprised me with these hauntingly beautiful recordings. The songs are banjo driven, yet are slow paced and methodical, with repeating / developing melodies and riffs. They are reminiscent of what one might expect from the soundtrack of Deliverance if it came out as a reiussue on Southern Lord Records. This is music for creative nights, in the back or foreground, as you’re working on something which requires your full mind’s attention. Aaron created the support system for your troubled brain. I really like these songs and will be listening to them on repeat for many of those nights."
— Greg Bennick

credits

released April 20, 2018

All instrumentation, audio sensations, photography as well as this record's design was created, performed and executed by one Aaron D.C. Edge. This collection of tracks was documented and recorded with him at the helm at Myelin Studio in Portland, Oregon, with mastering by Paul Speer at Rainstorm Productions in Memphis, Tennessee.

“I would like to dedicate this recording to my very supportive and loving Father. This was recorded with his banjo.” — Aaron D.C. Edge

© and Ⓟ 2018 Your Throws Shall Return

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Man of Multnomah Portland, Oregon

The solo moniker of multi-instrumental American musician, Aaron D.C. Edge, who has been writing and recording music since the mid 80's, in over 50 musical endeavors.

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