press clippings

"... country-fried guitar accompanied by a series of homebuilt noisemakers... delivered down-home ballads, warming the crowd with an electro-acoustic set, sounding a bit like a low-key Arthur Russell at times."
	- Best of PDX Pop Now, Willamette Week
			http://bit.ly/2aFkwEi

"a bit less electronic carnage on [Panic Sentry], but the songs are no less off-kilter in their quiet immensity and overwhelming beauty. I am in love with it--absolutely essential."
	- Forest Gospel
			http://bit.ly/2aNl6eh

"There’s something unnameable about what he does, something which language doesn’t lend itself to, or my language doesn’t, so I won’t speak too specifically about the work other than to say that it’s become fundamental in my life, something which I find by turns harrowing and joyous. This is not mood music; it isn’t static. It is a living thing, and so it does what it wants to do."
	- Patrick DeWitt, author of The Sisters Brothers
			http://bit.ly/1DeYlc0

"jerry-rigged the beating underground heart of Portland in such a way that it might actually manage to run a little longer despite the weight placed directly on it by gross condo development"
	- Best Events
			http://bit.ly/2aNlc5O

"entirely unclassifiable but truly unmissible noise and drone influenced homemade textures"
	- Totally Dublin
			http://bit.ly/2b9GrTC

"Sehr eigen und sehr hörenswert."
	- Kulturforum
			http://is.gd/506OFT

"Panic Sentry puts songs before exploration. It is plaintive, direct, and breathing; the compositions are austere and almost familiar, rooted in ringing folk."
	- Portland Mercury
			http://is.gd/HwygTJ

"... made me think of what the late guitar visionary Sandy Bull might have sounded like, had he been subjected to the influence of Suicide and Metal Machine Music: tremulous rockabilly vocals completely masked by distortion, heavily reverbed chords bleeding into each other at high volume, a seemingly arbitrary but nonetheless dramatic sense of structure."
	- Richard Williams, The Blue Moment
			http://is.gd/iCxOw7

"Mumform’s vocals a natural extension of his twangy guitar lines; bent, cooed, and whispered to jostle the lyrics into impressive shapes while electronics hum contentedly from the sidelines to give the whole tale an ethereal pallor."
	- I Guess I'm Floating
			http://is.gd/7tXD2L

アコギを片手に唄うフォーク作で、かすれたアシッド・フォーク/アメリカーナ・カントリーに、変なアナログ電子音を交えた彼らしい作風ですが、今までのものよりはしっかりフォークを唄ってる印象です。
	- Jet Set Records
			http://is.gd/jDeCzS

"a folk artist known to defamiliarize traditional sound with electric drones and superimposed musical textures. Mumford covered Buell Kazee’s version of “East Virginia” with deft guitar playing, and performed Bascom Lamar Lunsford’s “I Wish I Was a Mole in the Ground,” accompanied by haunting, mantra-sounding oscillators."
	- Oregon Music News
			http://is.gd/RJvyTE

"...croons quietly and expressively accompanied by his guitar and mild electronic noise. The addition of his experimental electronic work is an effective accompaniment that enhances and streamlines the traditional “folk” style."
	- Best Tape Ever
			http://is.gd/qBhtBP

"low, mumbling voice and simple, entrancing chord progressions"
	- Willamette Week
			http://is.gd/FfuMp7

"He veins his rickety, frayed folkish tunes with eccentric electronic currents, creating interesting incongruities"
	- Seattle Stranger
			http://is.gd/H89p8j

"proved beyond doubt the forgotten potential of the New Weird America movement and showed a very interesting direction of developing the ossified songwriters’ scene. The most unusual concert of the event."
	- Survival Arts Festival review, Wroclaw Poland
			http://bit.ly/1CjEHgS

“not your little brother's Americana outfit. The Portland folk freak of nature sounds like he's more enamored of Arthur Russell than Gram Parsons, as he upends rustic folk-rock tropes with unexpected structural fissures and injects textural oddities that blast away the form's ho-hum-iness.”
	- Seattle Stranger
			http://is.gd/kQk3e4

"What I experienced was a wall of sound filled with holes and through these holes came beats that moved my body, strings that told a story and a voice that made me want to cry."
	- ms.ms. magazine
			http://is.gd/chFqMu

"..making country like never before, dark Johnny Cash-esque tunes, if Johnny had played minimalist drone instead of traditional country style."
	- God Is In The TV (London)

"Whether it’s a turn of phrase or a shard of sound, you hear something new every time you listen."
	- Willamette Week
			http://is.gd/NOn504

"magnificently blends his style of free associative story-telling and crooning with his subtle, distinct electronica, which can whine and screech splitting ears but also soothe and calm melodiously"
	- Oregon Music News
			http://is.gd/aFDr5L

"a kind of ecstatic communion with those forms, dispatches in eternity which are themselves irreducible, unpigeonholable, timelessly and rootlessly just floating there."
	- WFMU’s free music archive
			http://bit.ly/2bbuYEh

"a delirious harmony of Mumford’s best weathered crooning, acute, overblown beats, and a scrambled chorus melody"
	- Animal Psi
			http://bit.ly/2bm9u3S

"a one-man sonic mindfuck that refuses to land in any particular genre."
	- Dave Allen (gang of four)

"At times baffling, consistently visionary, [The Tropics Of Phenomenon] is the definitive work of an as-yet-named genre wherein harsh noise and tender balladry are proven to be far more closely related than previously thought."
	- Portland Mercury
			http://bit.ly/2bm9cu3

"Mumford is not merely a genius song crafter but cavernous sound engineer. These songs are mortally infused with an electronic pulse that propels them into a realm of ancient, mythical robotics."
	- forest gospel
			http://bit.ly/2bjAeTq