Moving across genres and borders as easily as a dial moving up and down the AM band, The Boggs spent seven years defining, refining, building up, and breaking down with a one of a kind take on proto-post-folk-garage-punk-folk-punk-blues & disco. Between 2001-2008, they released three, critically adored, cult records, created a musical landscape that managed to both achingly familiar and yet almost lunar in its strangeness, and lay claim to territory well outside the usual indie imaginings. Like field recordings beamed in from a world in which boundaries and decades are irrelevant, these were records that connected dots and drew new lines toward points unknown. Cartographers of the 'New Weird America' before such a term came into marketing play.

Before their third (and final?) release, Forts, principle member Jason Friedman retreated to Berlin where he began demos using roughshod recording techniques in his kitchen. Over the next year and a half, Friedman added fresh layers to these tracks in a series of Berlin studios. Bringing in horn players, singers and string players to apply the finishing touches before hauling the stacks of tracks back from Europe to mix in New York. As obsessive, delicate and other worldly as Friedman's own drawings used on the album's cover, Fort is the kind of record that record collections were made for.

'...Forts is a combustible concoction of handclaps, knee-slaps, Bo Diddley beats, shuffling feet, clinking cowbells, and chain-gang chants that suggests a band perpetualy on the verge of breaking down but having too good a time to notice the smoke seeping out from under the hood.'
-- Pitchfork

'This is a very special album.'
-- The Tripwire

'Four Stars'
-- Uncut