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Jonah Michea Judy / Press

“The prog-folk songwriter Jonah Michea Judy recently relocated to Arizona from North Carolina and brings with him his soothing voice and sharp-guitar playing on the heels of a newly released double album, Night, the Different Painting/Blood on Snow. Judy delivers his soft vocals floated over sinewy acoustic guitar riffs and he has drawn comparisons to Elliott Smith and even-with some of his more brooding tracks-TOOL. Judy's songs are plaintive but not depressing or boring. He toys with catharsis and hope while taking it all on with certain intensity. Songs such as "Selu" Begin with his subtle-yet-mesmerizing guitar work before he laments on love with ponderous and wandering lyrics delivered with a quiver. But if anyone is not convinced of Judy's talents, check him out on YouTube riding a unicycle while playing Johnny Cash's "Folsom Prison Blues." It's not everyone who can do this. www.jonahmicheajudy.com”

“The two-disc CD tears through 19 adventurous, emotionally charged snapshots, with Judy’s quavering, whisper-sung vocals hovering like a more hopeful Elliott Smith over alternatingly plaintive and muscular guitar work. All these tracks are acoustic and percussionless, yet the Tool influence is oddly apparent, particularly in tracks like “Climbs,” where Judy lets his sinewy guitar lines wriggle their way out of conventional time signatures. Judy’s songs are sad but not mopey, dark but not depressive, and confessional enough to convince anyone that he’s clearly reckoning with some serious business of the heart. We find them tastefully honest and poetic — and are grateful that they’re not the least bit funky. Each contains a little catharsis, and while the intensity might demand a lot from some listeners, they also contain a fair amount of inspiration and reward.”

“...He came for two hours at a time, two to three times, and had a record done. And not only did the insistence of his urgency leap out of the speakers, but he was precisely nailing really cool guitar parts every time. And the lyrics were amazing. One day he showed up and cut a song where he sang passionately, then would stop abruptly and say politely “thank you, thank you very much,” and then go back to full throttle! I asked him what that was about, thinking something was going wrong, and he told me that he’d dreamed the song and awakened to write it down, complete. And in the dream, he was busking in a pedestrian tunnel and passersby would put money in his case and he’d stop to thank them then resume where’d left off—so he included this element of the dream in the song, accurate to a fault. He’s on his own path—it’s worth following down that road.”

“On first listen to this evocative singer, I was immediately transported to the early days of my college life when hordes of us would travel into downtown Philadelphia to see the then both alive and great Elliott Smith. Like Smith, Judy plays a type of song that plunges into the deep ravines and chasms of the soul. With musicians like these, it is kind of like staring into the sun; there is a deep part of you so very tempted to look but when you do, you know it hurts. And the passion that Judy sings with equates to such an experience. Judy plays a solitary acoustic guitar, that could at times sound as soft as his breathy verses or as raw and passionate as his vocally explosive choruses. Imagine a mixture of previously mentioned Elliott Smith, with a little Trent Reznor circa Broken era and Dashboard Confessional. It's good stuff. So take a listen.”

“JMJ kicks it into high gear with the 17 song epic Milk Sink. The record is once again just JMJ and his big voice accompanied by an acoustic guitar that JMJ tears into with passionately played rhythms in which he literally hammers the guitar, which is always a positive. JMJ also delivered the goods vocally sounding at times like a cross between David Cassidy and the dude from Nickelback. Some great songs are definitely present on this record like the excellent “Decompose,” with it’s tasty little guitar hook and haunting delivery. The production quality of JMJ’s stuff is stellar as he comes through perfectly . Very well done, crisp and clean. This is evident on my favorite song on the record, the title track “Milk Sink.” A dreamy tune which has JMJ in a spirited performance that is captured so well that you feel like the music is being played live in the room. ...Pick up his Milk Sink. It’s really good work.”

Brent FLeury - What's Up Music

“During a recent stop at the Courtyard Gallery—a cozy downtown venue that hosts weekly open mics that are podcast to more than 100,000 subscribers around the world—that diamond in the rough was Horse Shoe-based singer/songwriter Jonah Michea Judy. It was a cold, late fall evening, and Judy’s performance drew me in like a warm fire. Seemingly experienced beyond his years, Judy’s singing voice alternately burned with the subtle, whispering urgency of Elliot Smith and the overt, in-your-face aggression of Kurt Cobain”

Jake Frankel - Mountain Xpress

“There’s something in this business of music about finding your own voice. This cat here has found his at a rather young age.”

Eric-Scott Guthrie - The Evening Muse

“Usually people with three names are either serial killers or singer-songwriters. In the case of three first named Jonah Michea Judy we can definitely conclude he is a musician as he brings it home nicely on his 4 song Taste Escape EP. Just made up of Judy’s voice and guitar, the songs really capture a certain passion that makes them extremely believable while remaining kind of easy and listenable. My favorite song was “Snow White Men Wait,” where JMJ’s raspy singing made me a little goose-bumpy... His delivery and tone were quite impressive. I highly recommend picking up Taste Escape and seeing JMJ live when you can because he is simply pretty darn good.”

Brent Fleury - What's Up Music