Pic 3 - Photo Credit_ Andre Hemmitt Jr.jpg

My Old Friend

**Listen to the New Single**

**Produced by Sam Cohen**

About

The music of Thin Lear comes into focus like a specter in the dark – beckoning and restless – an outstretched hand from the dimness of a room. The moniker of NJ songwriter Matt Longo, Thin Lear has taken on many forms since the 2020 debut, Wooden Cave (PopMatters’ Best Albums of the Year), with different collectives of collaborators, producers, and players.

Last year's A Beach of Nightly Glory EP, produced by Matthew E. White (Natalie Prass), received praise from spots like Bandcamp Daily, Under the Radar, and Talkhouse, with PopMatters regarding it as "...a superb showcase for Longo's immense songwriting abilities...a throwback to the timeless compositions of artists like Leonard Cohen, Van Morrison, and David Berman."

His second new EP in under a year, A Shadow Waltzed Itself, arrived this past March, followed by an 11-date East Coast tour that culminated in a showcase at City Winery NYC with The Shivers. The newest EP illustrates the moment one recognizes that something of great value (a person, a community, a sense of self) has quietly moved away from them. Through dark waltzes, and a late-night sonic palette, Longo unfurls stories of those reckoning with this shuddering realization – either fighting against it or simply letting go.

Thin Lear has shared the stage with artists like Jesse Malin, Greg Mendez, and Charlie Parr, playing at SXSW, Mile of Music, and beyond. His debut album, Wooden Cave (EggHunt Records), received glowing reviews from KEXP, AllMusic, and NPR's New Music Friday, who called it "amazing."

Discography

Thin Lear-Credit [Stuart Hardie]_3000x3000.jpg — Wooden Cave

on EggHunt Records
PopMatters “Best Albums of the Year” (9/10) / AllMusic (★★★★)
Featured on NPR’s New Music Friday / Bandcamp’s New & Noteworthy

POPMATTERS

"Easily one of the best, if not the best, album of this horrifying year so far.”

ALLMUSIC

"On par with the albums that inspired it: Leonard Cohen's dark backroom soliloquies and the more bittersweet moments of [Harry] Nilsson's drifty pop.”