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This record ought to be exhibit A for why 7” singles hold such a tremendous power over record collectors and music listeners alike. At its best, the format is designed to provide an immediate and visceral punch to the proverbial soul, an injection that’s equal parts energy and pure inspiration. Athens, GA-based Long-Legged Woman take the challenge of creating a great single, and pretty much define the word success in the process. Place the needle on the record (green marbled wax, niiiice), and you’d be forgiven for thinking it was 1991 and you were listened to a new Polvo single or even Wingtip Sloat. But just when things might seem predictable (if not totally enjoyable), you’re swimming in a beautifully murky and lo-fi pop heaven. By the time they get to the chorus of the sole track (“Something is Pressing Against it from the Inside”), it’s vintage early Flaming Lips, with a yearning and irresistible vocal delivery cutting through the sound. It’s a breathless blast of energy, and recalls the best records you had on 45 back in the day. And like those same platters, it’s impossible to listen to once, and you’ll find yourself playing it 10 times before you even realize what’s happened. Best of all, the impact of these repeated playbacks is not diluted at all. It’s a marvelous trick they’ve accomplished, crafting a record that has stayed lodged in my brain for months on end. I’ll be humming the tune for at least a year, I have no doubts.Oh yeah, there’s a b-side too! Damn, it’s gotta be hard to follow an act that strong. The a-side had me in its death grip for so long that I found it difficult to envision even trying the flip on for size. Turns out I’m glad I did. Opting for the wise strategy of showing a different side, they offer a tune entitled “Scalpels in the Sky”. It’s a stylistic left turn, a little more challenging and slightly mysterious. It’s more in the vein of a Pink Reason downer folk vibe, and it works incredibly well. The tracks has an ominous and somewhat foreboding minor key feel that recalls “The Disease” off the second Bunnymen LP. High praise indeed.So we’re probably talking less than 5 minutes of music total. And yet these two tracks have held a greater power over me than most any other music I can recall the past six months. The vinyl’s lovely, and it sounds fantastic every time the needle drops. What more do you need?!? 10/10 -- Eric Hardiman (28 January, 2009) (foxy digitalis)


"Flowers attacks his kit like John Bonham covering Throbbing Gristle, while Vodicka rides a raunchy guitar figure through a brick wall of grimy textures, sinking into a third-eye-opening groove and transcending his gristly surroundings."

-Flagpole Magazine

"...generally invokes the kind of rumble typically in line with what you hear on Earth's "Earth 2" and Sunn O)))'s "Flight of the Behemoth", but with a bit of a harsher burn. There's also some curious sounds to be heard underneath the dull, raging groan, almost like vocals that I can't quite make out. Anyhow it's no Prurient-esque shouting so I can't tell you for sure. Whatever it is, it lends somewhat of a halcyonic vibe to an otherwise imposing aural structure. It's a good listen though. If I'm doing the blender/jam session thing, I'm thinking Sunn, Kevin Drumm, C.C.C.C., the Rita and Hair Police breaking off into pairs, squaredance style. Kinda weird since the only person credited for this track J. Flowers on tapes. He musta been busy. Anyway, the soup's good and I'll have encores, thanks. Which works since there's a second track, "Drone's Not Dead". It's got a bit more space to maneuver in butm despite crediting both members for guitar and bass, it still sounds suspiciously like the last piece. Who's to say just what's being manipulated here. Like the quasi-vocals in "No Notes", there seems to be more submerged treasures here beneath the surface, this time a weird, haunting, keyboard loop. Something the Skaters might've tried if they put down the pipes and picked up mean streaks. Anyway all these comparisons to people you already know are just reference points and nothing more. Long Legged Woman, depsite the unfortunate moniker, have hit on a sound all their own and it is indeed a surprisingly great, fresh, organic sound. Fully recommended."
- Outer Space Gamelan

"An endless rain of suffocating feedback and heavily treated loops ensues and if you're wasted enough you could even call it psychedelic."
- Foxy Digitalis

"Last night, we knelt before our gods. We wailed and repented, we gnashed our teeth. They gave us pure sonic retribution. They let us approach the skins of their drums, the face of their amps, and together, we ascended. People tell me I rolled around on the floor and beat my fists upon a cinder block; I wouldn't know. All I remember is placing the tips of my fingers against the surface of the bass drum, and feeling an ultimate connection to the spacefuck beyond."
- Max Martin

"Newtown Nights finds the Athens, Georgia boys branching out into musical realms once thought untouchable by a band of acid ears. Anchored by heavy waves of macabre feedback and dirty blues, Long Legged Woman has transformed the bastardized Haight-Asbury foreplay of peers into an album's worth of guttural ditties any Mississippi Delta backporch dweller would be proud to call kin. LLW refuse to sit on the laurels thrown by tye-died consumers and black fedora stylist, preferring to mix it up in the mud and soot of music's filthy underbelly. To count the styles and sounds visited (and revisited) during the all-too-short Newtown Nights would only serve to spoil the supernatural surprises stored within its cardboard home."
- electronic voice phenomenon

"Long Legged Woman knocked me out...with a disc called The End of False Religion. Two long tracks that kinda sounded like the entirety of Godflesh Streetcleaner exploding in slow motion. No riffs, no drum machine, I don't think any vocals, just blasted tape collage and guitar noise."
- Blastitude