Experimental pop duo The Horn The Hunt talk us through their favourite five albums.
The Jesus Lizard – Goat.
I first heard this album in my late teens, quite a while after it came out, and every time I listen it takes me to that special place I love- pure emotional energy and madness. There’s an elegance to the brutality, it’s epic but completely relentless and focussed. Its like being picked up by the talons of an eagle or dragged across a red hot, rocky landscape by a rope tied to the back of a horse for half an hour. As a teenager I loved heavy rock, post-rock and grunge, hated most other types of music. Now I find the sound of guitars annoyingly dull, except that wild desert rock sound so majestically wielded around in Goat; one minute evoking a spider tickling along it’s web, the next a chainsaw tearing down a rainforest.
Bjork – Homogenic.
I was late discovering Bjork and this was the first record that I really got into that wasn’t guitar-based. It opened my mind to what music can be – I was in awe. Huge, vast and powerful, almost classical, and so interesting sonically, with fantastic videos too. I became pretty obsessed by her and her music after this record. She followed it with two further excellent albums that are so different to each other – it would be hard to choose my favourite- but Homogenic has such a lucid sense of landscape. I wasn’t taken by Volta at all, so I am very interested to see what she comes up with for Biophilia.
Tomahawk – Anonymous
I’m not that keen on the other Tomahawk albums, and despite having massive respect for Patton and his musical projects, nothing he’s done has really touched me before. But Anonymous is a beautifully crafted album- atmospheric, intense and primitive. With the kind of dynamic guitar work to be expected from Duane Denison, the arrangements and range of instruments seem to perfectly suit Patton’s varied and extreme palette of vocal sounds and lyrics. The beats are shamanic in parts, quite concentrated and repetitive but manage to flesh out in all the right places. There are moments in the album that make me laugh and crack out this weird smile, then others that make me want to destroy everything and start again. It’s tender and rough, all-knowing and naive…in my opinion it’s almost a perfect experience.
Tom Waits – Bone Machine
Sometimes Tom Waits can get too stylistic for me, more recently his albums almost feel generic. And yes, you could say he rips off Beefheart, but for me this album is a gem, and is Waits at his most original and interesting. The album is crammed full of other-worldly stories; curious, hilarious, ancient and often quite moving, all rattling along to a heavily-percussive blues sound. ‘The Ocean Doesn’t Want Me Today’ is gorgeously dark and funny, but at the same time makes you feel like you’re entering an abyss and don’t really care what happens to you. As with all of Waits’ albums, the recording itself always sounds so interesting, utilizing acoustic spaces and capturing the spontaneity of his execution.
– Clare & Joe
‘Mellow Gold’ Beck, 1993
The first album that taught me that music can be a patchwork quilt and doesn’t have to conform to any predetermined style or structure. Basically, the first time I’d heard overtly post-modern music. Brilliant satirical, cynical and humorous lyrics, but heartfelt too. It still sounds so new and shows that a multi-instrumentalist can make great records by oneself. Shortly after hearing this I got a fourtrack and started recording full songs by myself in my parents garage; the results, however, were never quite as good as this! I am not that keen on much he has done since, but this is a masterpiece.
The Horn The Hunt are touring:
Apr 25 Ink for Aid. Test Space, Leeds
May 03 The Harley, Sheffield (Supporting Damo Suzuki)
May 05 THE BULL & GATE, London
May 06 Firestation Arts Centre, Windsor
May 18 Gwdihw, Cardiff
May 28 ALBUM LAUNCH PARTY @ Milo, Leeds
Jun 10 Rough Beats Festival, North Yorkshire
Aug 14 Beacons Festival, Skipton
Sep 17 Alchemy Festival, Lincolnshire
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