Released in 2016 by New York based Northern Spy Records, Interventions is the closest we've come to realizing our musical vision in record form. It contains all of the elements: a blend of chaotic but controlled performance; musical synthesis across far flung genres; a nearly compulsive drive to experiment; and a desire to do things in as DIY a manner as possible (in this case by doing most of the engineering, mixing, and production ourselves). 

Some praise for Interventions:

Philip Sherburne writes in his review for Pitchfork Media that, "[t]his is a band that believes that experimental music has the potential to be more than merely aesthetic, and every one of their choices—like taking apart their instruments and rebuilding them according to an alternate musical logic—speaks to a desire to upend the status quo." Writing in The Wire, Tristan Bath calls Interventions "an artistic breakthrough," while The New York Times' Ben Ratliff described the album as "shivering with energy." And Sasha Frere-jones writes in the Village Voice that "Horse Lords work loops against each other until you feel rhythms that you don't want to have to count....the joy rises, though, when the band lock gears and roll hard through their chutes and ladders." Interventions also appeared on several of 2016's year end best-of lists, including The Wire, Red Bull Music Academy, The Baltimore City Paper, WTMD, and The Observer.

Since 2012, we have self-released a series of tapes—dubbed "mixtapes"—which have allowed us to explore new ideas, play with compositional approaches, and ultimately discover new sounds. We treat each tape as both a sounding board for the development of new ideas and a self-contained work unto itself. From Mixtape Volume 1 onward, we have practiced the technique of audio collage by juxtaposing a series of seemingly unrelated musical components into one unbroken stream.

Our most recent, Mixtape Volume IV, featured colloborations with fellow Baltimore artists Bonnie Jones, Abdu Ali, and Will Schorre. 

Our second studio album—recorded in Baltimore with Chris Freeland and released by NNA Tapes—Hidden Cities marks the further integration of our live sound with forays into studio experimentation. The long form pieces Outer East and Macaw form the backbone of the record, which were then deconstructed and reformed to create the accompanying pieces. 

Some praise for Hidden Cities:

Chris Richards writes in the Washington Post that "Hidden Cities pushes, pulls and piles up guitar riffs like loose Jenga blocks...clever, vibrant and feel[s] like the opposite of homework," while Baltimore City Paper's Bret McCabe says “[it] continues the band’s inviting union of American minimalism, propulsive rock, and the time-traveling intricacies of African rhythms...Head-pounding stretches of rhythmic unison splinter into disorienting layered phrases as parts of songs come together and disintegrate in the ear, all while maintaining an insistent forward momentum." Hidden Cities also appeared on several of 2014's year end best-of lists, including The Washington Post, Baltimore City Paper, and AdHoc.fm.

Following the release of Hidden Cities, we conscripted an assortment of artists we admire from around the country and tasked them with reconstructing the album as they saw fit. The resultant collection was dubbed Hidden Cities Remix and consisted of a diversity of approaches, from Drew Daniel's straightforwardly fun streamlining of the song Macaw, to Jon "Wobbly" Leidecker's process oriented reconstruction of the song Outer East (which is all but unrecognizable), to M.C. Schmidt's almost wistful combination of our songs Outer East and Tent City with flutes, sounds of the ocean, and Bjork's Anchor Song.

All proceeds from the release of this project went the Living Classrooms program Believe in Music, which aims to uplift underprivileged Baltimore City students academically, culturally, and spiritually, while promoting self-expression and community awareness through music education.