#Horse Lords

[theworldsoftolkein]

Palace of King Theoden - by Breath-Art

[paintnpending]

Dothraki Veterans "I shall fear the Dothraki the day they teach their horses to run on water." -Lord Eddard Stark

These guys have a lot going on. Stringing the compound bow over their shoulders was an interesting little challenge. Love their unique swords.

[doomandgloomfromthetomb]

INTERVIEWS ETC 2023

I sometimes talk to people! Going back over the last year, I had some nice conversations with some very cool people. I like doing interviews, but they definitely stress me out a little bit. I suppose it's good to get out of your comfort zone from time to time, though ... So yeah, here are a few of those interviews, in case you missed 'em the first time around.

HEAD VOICE (James Jackson Toth, Ben Chasny, Donovan Quinn)

Donovan Quinn: There’s one aspect of process which is like a user manual. You know, turning on a machine, how you control the bass or whatever. But then there’s a part of process which is more of our terrain, where it’s kind of a story. An artist or a group of artists is interacting with all these elements — each other, gear, inspiration. With each of our pieces in Head Voice, we’re getting little bits of that story.

ILYAS AHMED

With my record, I’ve seen people reference Loren Connors, which is great — I’m a huge fan of Loren Connors. But I’m always comparing it to something like Bill Fay, maybe in an emotional sense. Or like, Neil Young — how do I make “Cortez The Killer” … but not just copy it. One of my favorite Coltrane tunes is “Alabama.” Those eternal favorites you always come back to. How can I make something that feels like that without just doing that, right? I’m not interested in copying it, I’m interested in transmuting it, making it fit into my weird perspective of the world. 

WILL HERMES

As an artist, [Lou] was a “transformer,” and everybody has their own version of who he was. What they want him to be, what aspect of his character they wanted to take in. I tried to show them all. I don’t know if they all morph into a single, intelligible human being. But maybe that is part of what was endlessly fascinating about him. He was all of these things simultaneously and they didn’t all necessarily add up.

M. SAGE

I think it’s radical to have fun. And to be silly. It’s not meant as escapism or denial, but the world is dark and weird. And it keeps getting darker and weirder. It’s radical for an artist to afford an audience joy or pleasure. I mean, I love a lot of that solemn, serious, foreboding electro-acoustic music. There’s incredible stuff, obviously. But I wanted to make something that felt fun. And accessible! That’s radical, too, I think.

HORSE LORDS

Andrew Bernstein: We’re trying to make things that sound interesting to us, first and foremost. But we’re also hoping that the music and the way we operate spurs the listener to think differently. Every act is political, and our decisions might make someone reconsider how they make music or how they go about their lives.

BRENDA SAUTER

“The Obedient Atom” at White Eagle Hall was really special. That was one of the original Willies songs and it never got recorded. It was one of those songs that was always left behind for one reason or another. To finally play it out just felt incredible … and then the fire alarm went off and everyone had to evacuate [laughter]. There’s something about that song! Surreal. The atom wasn’t so obedient that night.

Further reading: Bill Million on the Feelies' live tribute to an Underground legend

GUIDING LIGHT: A TOM VERLAINE APPRECIATION

Alasdair MacLean: I also think of some of Stephan Mallarme’s phrases – “the musician of empty nothingness.” Verlaine seemed to be working in parallel: “Watching the corners turn corners;” “Lightning struck itself.” The language turns in on itself, like the guitar solos. He obviously knew those poets back to front. I imagine lots of other people have tried to do this since, but all of them have made fools of themselves. Verlaine never did.

Further reading: Tom Verlaine - 20 Great Tracks

SPIRAL STAIRS

When we first started talking about rehearsing, I was like, “We’re probably going to be playing the same 20 songs. Let’s just pick another 15 songs that we know we can bust out.” Eventually, we finally came to that point…but then in rehearsals we ended up playing probably like 60 songs [laughs]. I’m like, “Oh my god!” That was just for the two Primavera shows, so it was like “Come on!” It took a while to re-learn all of that stuff. 

[survivethejive]

The gods of the Scythian horse lords and their bloody rituals!

[omegaplus]

# 4,356

Omega Radio for March 11, 2023; #346.

Chives, The: "Your Mom's A Bitch"

Moron: "Mosquito Trap"

Horsegirl: "It's Obvious"

Throwaway: "Dinosaur"

Gut Health: "Barbarella"

Cheekface: "Headache"

TVOD: "Goldfish"

Easy Bruiser: "I Hate Thursdays"

Gloop: "I Never Really Knew"

Rotary Club: "American Tower"

Dazy & Militarie Gunn ft. Mannequin Pussy: "Pressure Cooker" (RMX)

Grocer: "Smooth Operator"

Deady: "Eat Sleep"

Cel Ray: "Clorox Wipes"

Body Type: "Miss The World"

Wombo: "Snakey"

Dumb: "Sleep Like A Baby"

Horse Lords: "May Brigade"

Rip Room: "Dead When It Started"

Blonde Revolver: "Lipstick & Leather"

Arbor Labor Union: "Hovering Stone"

Corker: "Lice"

Maraudeur: "C'est Cache"

Alpha Hopper: "Glows, Explodes"

Mamalarky: "Mythical Bonds"

Scare Quotes: "Tomato"

Diacatorci: "Parasito"

Jade Hairpins: "Mary Magazine"

Viagra Boys: "Ain't No Theif"

Fake Fruit: "Over Ice"

Guerilla Toss: "Heathen Money"

Namesake: "Operational"

TV Priest: "One Easy Thing"

Post-punk, d.i.y., and city sounds.

[omegaremix]

Omega Radio for March 11, 2023; #346.

Chives, The: “Your Mom’s A Bitch”

Moron: “Mosquito Trap”

Horsegirl: “It’s Obvious”

Throwaway: “Dinosaur”

Gut Health: “Barbarella”

Cheekface: “Headache”

TVOD: “Goldfish”

Easy Bruiser: “I Hate Thursdays”

Gloop: “I Never Really Knew”

Rotary Club: “American Tower”

Dazy & Militarie Gunn ft. Mannequin Pussy: “Pressure Cooker” (RMX)

Grocer: “Smooth Operator”

Deady: “Eat Sleep”

Cel Ray: “Clorox Wipes”

Body Type: “Miss The World”

Wombo: “Snakey”

Dumb: “Sleep Like A Baby”

Horse Lords: “May Brigade”

Rip Room: “Dead When It Started”

Blonde Revolver: “Lipstick & Leather”

Arbor Labor Union: “Hovering Stone”

Corker: “Lice”

Maraudeur: “C'est Cache”

Alpha Hopper: “Glows, Explodes”

Mamalarky: “Mythical Bonds”

Scare Quotes: “Tomato”

Diacatorci: “Parasito”

Jade Hairpins: “Mary Magazine”

Viagra Boys: “Ain’t No Thief”

Fake Fruit: “Over Ice”

Guerilla Toss: “Heathen Money”

Namesake: “Operational”

TV Priest: “One Easy Thing”

Post-punk, d.i.y., and city sounds.

[bandcampsnoop]

11/18/22.

Nausia is a new band from Copenhagen, Denmark. Their songs are instrumental and unique. They describe their music as trying to "create a soundscape that sounds like, spiritual jazz, krautrock, noise and minimalism and yet at the same time like nothing else."

It does recall the fine work of Horse Lords, or even certain aspects of black midi. The tenor and soprano sax also bring to mind the fine catalogue of San Kazakgascar.

This is released by Copenhagen based label Plader Uden Grænser.

[burlveneer-music]

Horse Lords - Comradely Objects - the new album is out, 7 tracks fusing serial minimalism and skronk rock

Horse Lords return with Comradely Objects, an alloy of erudite influences and approaches given frenetic gravity in pursuit of a united musical and political vision. The band’s fifth album doesn’t document a new utopia, so much as limn a thrilling portrait of revolution underway. Comradely Objects adheres to the essential instrumental sound documented on the previous four albums and four mixtapes by the quartet of Andrew Bernstein (saxophone, percussion, electronics), Max Eilbacher (bass, electronics), Owen Gardner (guitar, electronics), and Sam Haberman (drums). But the album refocuses that sound, pulling the disparate strands of the band’s restless musical purview tightly around propulsive, rhythmic grids. Comradely Objects ripples, drones, chugs, and soars with a new abandon and steely control. Electric piano on "Plain Hunt on Four" by Andrew Christopher Smith Design by Will Work For Good

[jgthirlwell]

playlist 11.29.22

Tyondai Braxton Telekinesis (Nonesuch / New Amsterdam)  Horse Lords Comradely Objects (RVNG Intl.) Netherlands Kali Corvette (Three One G) Burial Antidawn EP / Streetlands EP (Hyperdub) Tess Tyler Fractals 1 and 2 (Bandcamp)  Gilla Band Most Normal (Rough Trade Records Ltd)  Blanck Mass Ted K OST (Sacred Bones)  Colin Stetson Chimaera I (Room 40) Ben Frost Broken Spectre / 1899 OST (Vinyl Factory / Invada)  Young Gods Data Mirage Tangram (TYG)  Leya Eyeline (NNA tapes) Hatis Noit Aura (Erased Tapes) Party Dozen The Real Work (Temporary Residence Limited) Fuck Money Self Titled (Three One G) Yonatan Gat American Quartet (Stone Tapes) Loraine James Building Something Beautiful For Me (Phantom Limb) Cinematic Orchestra In Motion #1(Ninja Tune) King Gizzard and the Lizard Wizard Changes (KGLW) Persher Man With The Magic Soap (Thrill Jockey)  Volker Bertelmann All Quiet On The Western Front OST (Netflix Music) Kid Congo Powers Some New Kind Of Kick (Book)

[the-writing-warg]

The cavalry director just screamed at me for riding like a member of the rohirrim instead of a viking.

First of all, what's the difference really.

Secondly, you expect me, a tolkien nerd, to be able to wear viking style clothes and a cloak, use a shield and a sword, and ride a horse wearing armour into a fake battle without quoting lotr.

[theworldsoftolkein]

The King of the Golden Hall & His Noble Steed Snowmane - by Magdalena Katańska

So I imagined That I'm a Gondorian artist ordered to come to Rohan and paint a portrait of King Theoden & his steed Snowmane in the halls of Meduseld. 😄

'Faithful servant yet master's bane Lightfoot's foal, swift Snowmane' - J. R. R. Tolkien Lord of the Rings: The Return of the King 'Where now are the horse and the rider? Where is the horn that was blowing? Where is the helm and the hauberk, and the bright hair flowing? Where is the harp on the harpstring, and the red fire glowing? Where is the spring and the harvest and the tall corn growing? They have passed like rain on the mountain, like a wind in the meadow;

The days have gone down in the West behind the hills into shadow. Who shall gather the smoke of the deadwood burning, Or behold the flowing years from the Sea returning'

- J. R. R. Tolkien Lord of the Rings: The Two Towers

[paintnpending]

Dothraki Screamers “The horselords come, we give them gifts, the horselords go.” - Qavo Nogarys Diving into the Dothraki and the Targaryen faction full time, I appreciate the smaller model count per unit and the difficulty to properly paint the flanks of a horse. We’ll see where this goes.

[doomandgloomfromthetomb]

Horse Lords - Live In Leipzig

Horse Lords! A great band, in my opinion. But don't take my word for it. Here's the quote Pavement's Bob Nastanovich gave me for a recent Uncut feature:

"Horse Lords make music that is so meticulously organized and executed that it lifts the listener to both a focused and frenetic state. In a sense, it sounds like music made for speed-happy truckers and 24 hour video game people. They slay precise tunes for the robotics team. I'd be amazed if they didn't enjoy band practice."

Thank you, Bob! And hey, you can read my Uncut feature online now. Good stuff. Horse Lords just played the End of the Road Festival in the UK and have a few more European dates coming up.

For the rest of us, we'll have to enjoy the recently released Live In Leipzig EP. I recommend grabbing the download, but I also recommend watching its accompanying video — it's extremely cool to see how Horse Lords puts this extremely complicated music together. As we discussed in Uncut, they're not exactly a rock band but they definitely rock.

[aquariumdrunkard]

Horse Lords :: Comradely Objects

Horse Lords’ previous record The Common Task appeared on March 13, 2020. Two days later, the whole world began to close. The erstwhile Baltimore quartet (three of the members now live in Germany) returned this month to a world changed, but certainly not changed enough. The radical music on Comradely Objects speaks directly to our historical predicament: Horse Lords erect seemingly stable musical systems which they force to undergo transformation in spite of themselves.

[dustedmagazine]

Horse Lords — Comradely Objects (RVNG Intl.)

Photo by Margaret Rorison

Comradely Objects by Horse Lords

Baltimore’s Horse Lords sound like the Magic Band if they ditched Beefheart and moved to the city. Their intense interweave of guitar, bass, sax, drums, and occasional electronic textures is vividly rendered in rhythmic counterpoint that’s impossibly precise, yet swings beautifully, with enough inspired variation to hint at human design behind this industrial-sounding music. Having released four albums and four mixtapes to date, Horse Lords’ new album, Comradely Objects, is the band flexing at the peak of their powers.

Opener “Zero Degree Machine” lets the listener peek under the hood of this finely honed automaton. Drummer Sam Haberman locks down a watertight beat, accented with some sprightly percussion; guitarist Owen Gardner threads through some tropical-sounding guitar arpeggios in a different time signature; and Max Eilbacher pounds out a woolly, three-note bassline. Gardner shifts the timing of his guitar arpeggios until they become a dizzying blur, Eilbacher throws in some harmonics on the bass, the whole rhythm section shifts up a gear, then Andrew Bernstein enters on sax to lock into a euphoric sax-and-guitar theme that carries the song to its cantering climax. 

“Mess Mend” kicks off like a melted version of Madchester, its demented, off-key piano intro leading into some magnificently warped guitar lines, backed by cowbell and squelching electronics. Haberman and Eilbacher keep the song riding the rails right up until its final moments, when everything becomes glitched out and a delay pedal is cranked into screaming feedback. On “May Brigade,” guitar and sax are locked in a squawking fight for supremacy, leading to some of the most demented playing on the record. Side A is closed out by the 90-second “Solidarity Avenue,” which sounds like the theme tune to a detective show set in a dark, rain-slashed city. 

Horse Lords offer the listener some breathing space at the start of side B. The ten-minute “Law of Movement” is dominated by long stretches of held sax notes and shimmering, droning electronics. There are some gnarly intervals, but the rhythm section holds off for a couple of minutes, then comes hurtling in with renewed fervor, the drum figure and bass harmonics reprising those found on “Zero Degree Machine.” The interplay between the instruments here is especially hypnotic, striking a mesmerizing balance between stasis and movement. “Rundling” is another comparatively short piece, featuring a bright saxophone and marimba melody over a shuffling snare pattern. Comradely Objects stumbles and shudders to a close with “Plain Hunt on Four,” where the electric piano and saxophone parts sound like their gears need greasing, the rhythm players holding back tantalizingly, where elsewhere they raced forward with aplomb. 

Tim Clarke