Lincoln Durham’s seamless Exodus of the Deemed Unrighteous scorches (“Sinner”) and seethes (“Strike Us Down”) with unwavering force. The singular songwriter’s new collection showcases a rapidly rising talent unquestionably coming into his own (“Ballad of a Prodigal Son”).

“We all wander through this shattered old world getting more glass in our feet,” Durham growls early on, “leaving bloody tracks everywhere we turn like a morbid hide-and-go-seek.” “I write the emotions that I’m feeling at the time,” he says. “This album was full of angst and anger and resentment, piss and vinegar. Exodus of the Deemed Unrighteous is a poetic way of saying I’m distancing myself from all the people I felt stabbed me in the back. This album is my release to the demons I was facing.”

His haunting backdrops simply speak volumes. Durham’s driving guttural beats backbone howling instrumentation throughout the album. The result: He effortlessly transcends genres with dark narratives as sharp as Steinbeck (“Rise in the River”) and poetic as Poe (“Beautifully Sewn, Violently Torn”). Durham’s thunderclap immediacy clearly shakes souls and turns heads.

“Lincoln plays guitar like a grown man,” legendary songwriter (and ace guitarist) James McMurtry says. “Like the howl of the wind and rumble of a thunderstorm,” echoes singular songwriter Hayes Carll, “Lincoln Durham's music is raw and real, the way it should be.”

Add: Swiftly evolving. Exodus of the Deemed Unrighteous doubles down on early influences (Townes Van Zandt, Muddy Waters) with even more eclectic resources (Nick Cave, Tom Waits). “I’m starting to change directions in my writing style and coming into my own,” Durham says. “I think I’ve found who I am musically and my voice. I’ve really adopted the one-man band thing and it’s caught legs.”

Witness his fiery and furious hurricane force live show. “I’m a one-man band but have a big, beefy full-band sound,” he says. “It’s loud, obnoxious and it’s not a show you’re gonna slow dance or fall in love to. It’s a lot of dark music for dark people, very electrified with the kick drum, floor tom, the snare, the fiddle, the banjo, a harmonica, a cigar box guitar. It’s a sideshow. Come out and see what you think.”

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Lincoln Durham’s seamless Exodus of the Deemed Unrighteous scorches (“Sinner”) and seethes (“Strike Us Down”) with unwavering force. The singular songwriter’s new collection showcases a rapidly rising talent unquestionably coming into his own (“Ballad of a Prodigal Son”).

“We all wander through this shattered old world getting more glass in our feet,” Durham growls early on, “leaving bloody tracks everywhere we turn like a morbid hide-and-go-seek.” “I write the emotions that I’m feeling at the time,” he says. “This album was full of angst and anger and resentment, piss and vinegar. Exodus of the Deemed Unrighteous is a poetic way of saying I’m distancing myself from all the people I felt stabbed me in the back. This album is my release to the demons I was facing.”

His haunting backdrops simply speak volumes. Durham’s driving guttural beats backbone howling instrumentation throughout the album. The result: He effortlessly transcends genres with dark narratives as sharp as Steinbeck (“Rise in the River”) and poetic as Poe (“Beautifully Sewn, Violently Torn”). Durham’s thunderclap immediacy clearly shakes souls and turns heads.

“Lincoln plays guitar like a grown man,” legendary songwriter (and ace guitarist) James McMurtry says. “Like the howl of the wind and rumble of a thunderstorm,” echoes singular songwriter Hayes Carll, “Lincoln Durham's music is raw and real, the way it should be.”

Add: Swiftly evolving. Exodus of the Deemed Unrighteous doubles down on early influences (Townes Van Zandt, Muddy Waters) with even more eclectic resources (Nick Cave, Tom Waits). “I’m starting to change directions in my writing style and coming into my own,” Durham says. “I think I’ve found who I am musically and my voice. I’ve really adopted the one-man band thing and it’s caught legs.”

Witness his fiery and furious hurricane force live show. “I’m a one-man band but have a big, beefy full-band sound,” he says. “It’s loud, obnoxious and it’s not a show you’re gonna slow dance or fall in love to. It’s a lot of dark music for dark people, very electrified with the kick drum, floor tom, the snare, the fiddle, the banjo, a harmonica, a cigar box guitar. It’s a sideshow. Come out and see what you think.”

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