Uscito a fine 2022 sulla sempre più sorprendente RVNG Intl, "Comradely Objects" è l'album della consacrazione degli Horse Lords, quartetto avant-rock di Baltimora di cui è difficile essersi persi l'exploit negli ultimi 10 anni. Con un armamentario strumentale composto da doppia batteria, elettronica, chitarra, basso e sax, gli Horse Lords rappresentano l’ultima incarnazione del rock “colto” americano, che trova padrini nel minimalismo di Steve Reich e Terry Riley, nel post-rock 90’s di Tortoise e Trans AM e in un’infinità di altre influenze “giuste”: blues del Mali, poliritmie, Talking Heads, Don Van Vliet, la musica micro-tonale, roba teutonica tra Klaus Dinger, Jaki Liebezeit e Holger Czukay.
Il loro live all'ultimo Le Guess Who? ha lasciato di stucco il pubblico che affollava all'inverosimile la sala Pandora del Tivoli ed è stato uno degli highlights del prestigioso festival olandese.
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.
On the first single from the beloved quartet’s new album Comradely Objects, Horse Lords cut the ribbon on a new polyrhythmic Internationalist uptown playground to romp unbridled across, as guitarist Owen Gardner’s spidery twang and tremolo-like pulses combine with Salsero / Madchester piano, the sub-y synthesis of Max Eilbacher’s bass playing and a churning keyboard squelch, and Sam Haberman and Andrew Bernstein’s locked-in percussion create a comprehensive, hot-stepping throb and nod.
According to the band, "'Mess Mend' is an example of the new compositional directions explored on Comradely Objects — an attempt to make an opportunity out of the impossibility of live performance in 2020. Rather than fully forming the track in rehearsal, “Mess Mend” was built and rebuilt in the process of recording and mixing. Augmented by digital instrumentation,” the patchwork piece references "rave culture’s more egalitarian 'second summer of love,’ and signals an "important rethinking how a Horse Lord’s song is made and what that might sound like.”
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