Beautify Junkyards' João Kyron and Tony Watts dip further into occult electronics on this new collaboration, using tape-damaged synths, industrial horror creaks, and drums to straddle electronics, krautrock sounds and tweaky, creaky AFX-esque slop.
Hidden Horse see their music as a new kind of folk - not the forest folk of the early 20th century, but the folk music that's been defined by library sounds, industrial music, and cult movie soundtracks. On "Opala", they attempt to marry this suite of sounds with occult elements, and come up with a sound that's part Ghost Box, part AFX, and part Demdike Stare.
Kyron and Watts have been working together for decades (first in the band Hipnótica, later in Beautify Junkyards), and their easygoing relationship gives the music enough lubrication to flow easily. Their concept is solid enough for an album's worth of material, and they bounce tweaked horror/sci-fi textures and creaky soundscapes off each other, balancing the mood with complicated micro-edited rhythms and dub fx.
It's a few paces to the left of their Ghost Box material - occasionally they nudge into quirky eccentricity (movie samples, analogue synths), but for the most part, their music exists in an endearing non place. Hidden Horse write music that's inspired by soundtracks, but doesn't feel completely beholden to the form - surprising how rare that actually is.
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Beautify Junkyards' João Kyron and Tony Watts dip further into occult electronics on this new collaboration, using tape-damaged synths, industrial horror creaks, and drums to straddle electronics, krautrock sounds and tweaky, creaky AFX-esque slop.
Hidden Horse see their music as a new kind of folk - not the forest folk of the early 20th century, but the folk music that's been defined by library sounds, industrial music, and cult movie soundtracks. On "Opala", they attempt to marry this suite of sounds with occult elements, and come up with a sound that's part Ghost Box, part AFX, and part Demdike Stare.
Kyron and Watts have been working together for decades (first in the band Hipnótica, later in Beautify Junkyards), and their easygoing relationship gives the music enough lubrication to flow easily. Their concept is solid enough for an album's worth of material, and they bounce tweaked horror/sci-fi textures and creaky soundscapes off each other, balancing the mood with complicated micro-edited rhythms and dub fx.
It's a few paces to the left of their Ghost Box material - occasionally they nudge into quirky eccentricity (movie samples, analogue synths), but for the most part, their music exists in an endearing non place. Hidden Horse write music that's inspired by soundtracks, but doesn't feel completely beholden to the form - surprising how rare that actually is.
Beautify Junkyards' João Kyron and Tony Watts dip further into occult electronics on this new collaboration, using tape-damaged synths, industrial horror creaks, and drums to straddle electronics, krautrock sounds and tweaky, creaky AFX-esque slop.
Hidden Horse see their music as a new kind of folk - not the forest folk of the early 20th century, but the folk music that's been defined by library sounds, industrial music, and cult movie soundtracks. On "Opala", they attempt to marry this suite of sounds with occult elements, and come up with a sound that's part Ghost Box, part AFX, and part Demdike Stare.
Kyron and Watts have been working together for decades (first in the band Hipnótica, later in Beautify Junkyards), and their easygoing relationship gives the music enough lubrication to flow easily. Their concept is solid enough for an album's worth of material, and they bounce tweaked horror/sci-fi textures and creaky soundscapes off each other, balancing the mood with complicated micro-edited rhythms and dub fx.
It's a few paces to the left of their Ghost Box material - occasionally they nudge into quirky eccentricity (movie samples, analogue synths), but for the most part, their music exists in an endearing non place. Hidden Horse write music that's inspired by soundtracks, but doesn't feel completely beholden to the form - surprising how rare that actually is.
Beautify Junkyards' João Kyron and Tony Watts dip further into occult electronics on this new collaboration, using tape-damaged synths, industrial horror creaks, and drums to straddle electronics, krautrock sounds and tweaky, creaky AFX-esque slop.
Hidden Horse see their music as a new kind of folk - not the forest folk of the early 20th century, but the folk music that's been defined by library sounds, industrial music, and cult movie soundtracks. On "Opala", they attempt to marry this suite of sounds with occult elements, and come up with a sound that's part Ghost Box, part AFX, and part Demdike Stare.
Kyron and Watts have been working together for decades (first in the band Hipnótica, later in Beautify Junkyards), and their easygoing relationship gives the music enough lubrication to flow easily. Their concept is solid enough for an album's worth of material, and they bounce tweaked horror/sci-fi textures and creaky soundscapes off each other, balancing the mood with complicated micro-edited rhythms and dub fx.
It's a few paces to the left of their Ghost Box material - occasionally they nudge into quirky eccentricity (movie samples, analogue synths), but for the most part, their music exists in an endearing non place. Hidden Horse write music that's inspired by soundtracks, but doesn't feel completely beholden to the form - surprising how rare that actually is.