Horse Lords were founded in Baltimore in 2010; they evolved from the experimental collective Teeth Mountain and began as a trio with drummer Sam Haberman, guitarist Owen Gardner, and bassist Max Eilbacher, soon adding alto saxophonist Andrew Bernstein to the core ensemble. Though Horse Lords grew out of the fertile Baltimore noise and leftfield rock scene, a storied environment for artists and weirdos that has nurtured many an influential outsider band (Lungfish, Matmos), their approach is more omnivorous than the stippled rhythms of instrumental electric rock would indicate. For their second studio album on RVNG Intl., Demand To Be Taken To Heaven Alive!, Horse Lords have followed this notion and augmented the instrumentation, expanding the format across a program of twelve original compositions. Press pickups: Pitchfork, Stereogum, The Quietus
Violin, pedals, synthesizers , drums, triggers, pads, cowbells, and metal sheets make up the sonic arsenal of Los Sara Fontan. The duo, formed by Sara Fontan and Edi Pou, bases its creative process on the analog and digital manipulation of acoustic sound. Their practice is rooted in improvisation, the use of error as opportunity, and the physicality of the body and its sonic extensions as a source of raw material. Their music is open source: they compose alongside other artists and constantly rework their own creations, opening them to collective and interdisciplinary experimentation.
supported by Jazz Moves
Horse Lords
Demand To Be Taken To Heaven Alive! is a reference to a line in a poem by Russian Futurist writer Vladimir Myakovsky, and the band have also name-checked the Bauhaus weaver Anni Albers (wife of painter Josef Albers), Islamic geometrical patterning, Dutch avant-garde group the Maciunas Ensemble (themselves named after Fluxus artist and typographer George Maciunas), composer/writers Tom Johnson, Henry Flynt and Catherine Christer Hennix, and musically draw from sources as diverse as Roscoe Holcolmb, James Brown, Kuwaiti/Bahraini sawt, and electronic composers Maryanne Amacher and Jaap Vink. As the members are keen to point out, Demand To Be Taken To Heaven Alive! is “a bid for the flattening of time and perception in favor of greater goods [and] the iterative nature of reaching/building a paradise in this life, not the next,” and the new album at hand is an illuminating starting point for eternal nowness.
Los Sara Fontan
A fearless mix of influences—as disparate as classical music, hardcore punk, noise, IDM, or electroacoustic sound—serves as fuel for the development of their own language. This is pursued through a process of constant questioning of music’s standard routines: how to structure a song, how to conceive a live performance, how to exist within a music industry marked by individualism and the inertia of standardization. For the first five years of their career, they deliberately avoided recording albums—a militant decision to resist conventional production cycles.
Their true stage is the live performance: physical, passionate, punk, ever-evolving and open to the environment. Together, they create minimalist oases, noisedrenched garages, beaches where time slows down, impenetrable walls of sound, beats for a futuristic odd-time rapper, romantic cliffs, underwater acrobatics, hedonistic discotheques, fragrant sonic gardens... They invite the listener to let their imagination run free.
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