“David EugeneEdwards has cast a net across time and space and snared The Threshingfloor, an album that severs the band’s already tenuoustether to influences like the Bad Seeds and encompasses a trance-like, almostrapturous dronescape…the new disc is a murky workout of Middle Eastern andEastern European tools and tones, one that feels like a missing link betweenjust about every folk music that’s ever existed. Shedding Western chordprogressions in favor of a hypnotic, modal undertow, The Threshingfloor isn’tjust a stunning new direction for Wovenhand; it’s like eavesdropping onforever.”  – Jason Heller / Westword

“Ten Stones isnot so much a bunch of songs as a series of reckonings with past ghosts andinner demons; a death-match confrontation framed inside a corral of crashingguitars and mountainous drums that slam against each other with titanic intent.Raw, uncompromising and visionary, this is magnificent rock music striking outfrom the sea of mediocrity that is much of the indie rock scene these days. Anessential must-hear/must-have record, Wovenhand creates powerful, potent andthrilling waves.”  – Sid Smith/BBC

“[TenStones] is a dark murky emotional masterpiece that tackles pain, conflict,faith and redemption with a war-like musical attack filled with battle chargedguitars and pummeling drumbeats.  David Eugene Edwards is Americana’s NickCave, he engulfs himself with the doomed, dark side of life and creates some ofthe most emotionally dense gothic Americana out right now. His musicalcraftsmanship is top notch and extremely unique.”  – Zach Timms / The Tripwire

“Wovenhand is just about the most perfect God-fearingapocalyptic rustic-folk band you could hope for.”  – David Malitz / The Washington Post

“One critic described the musicof Wovenhand as ‘Bauhaus meets Billy Graham.’ While that description does ringtrue, I have another one. Wovenhand, the `solo’ music of 16 Horsepower frontmanDavid Eugene Edwards, is like Nick Cave and Johnny Cash in a shootout inDeadwood…”   – Terrance Terich / Treble

“Lunging wheat-n-chaff first into a buckling confessional, David EugeneEdwards is a straw-haired Pentecostal prophet with a knack for spinningelegant, atmospheric Southern damnation. As Wovenhand, Edwards has yet to missa beat … as though concocted with quicksand, new sounds escape from eachcomposition over subsequent listens– little last gasps from a toy piano showup here, a last-minute snare hit there. The works are pocked with theseshadowed corners: the dark, oaken sounds of barn-raising banjo, upright bass,and guitar as well as cymbal crashes, cattail taps, possessed howls, and thefaint flapping of lark wings…[it] rings ominously with bells of paradise.”   – Brandon Stosuy / Pitchfork

“…he travels deep into the thicket of human depravity and rails with anintensity more indebted to the Great Awakening than any modern musicaltouchstone. Spicing paraphrased passages from the King James Bible with sawdustfrontier parlance, Edwards fashions archaic constructions similar to WillOldham’s. But where Oldham sings about death and redemption (on I See ADarkness and elsewhere), Edwards exhumes the corpse. The best of his songs areso ripe that you can smell their sulfur and creosote.”   – Nathan Hogan / Dusted

“The songs were pounding, surging drones in minor modes — sounding Celtic at times, Indian atothers, and always primordial — that gathered themselves in mesmerizing,unstoppable crescendos. In a voice that was robust and awestruck, Mr. Edwardsintoned lines about humility, exaltation and the kingdom of God, as iftransfiguration were imminent.”   – John Pareles / New York Times-Arts Beat