Album Review: Horse Lords - "Demand to be Taken to Heaven Alive!"

Baltimore's Horse Lords return with new vocals, effects, and instruments on Demand to Be Taken to Heaven Alive!, an album where the group's risk taking pays off in thrilling ways.

RVNG Intl - 2026

Baltimore natives Horse Lords have a knack for rhythm, groove, and experimentation. They collaborate on a deep, tightly knit level to where their performances are so detailed and complex, they sound like they're coming from a well oiled machine. The quartet initially peaked my interest when I attended the annual Big Ears music festival in Knoxville, Tennessee (where I currently live) back in 2024. They were billed to perform and I said hey, why not see them live? And they were great! The group sounded thrilling, mesmerizing, and unique. It's a cool experience if you ever get to go in person (they're touring the U.S. soon).

They've been on my radar ever since then and they've got a new record out, titled Demand to Be Taken to Heaven Alive!, out now via RVNG Intl. Throughout their career over the past fifteen years or so, Horse Lords at their core have stayed strong in what they're known best for, which is microtonal post rock mixed with saxophone, electronics, guitars, drums, and plenty of other percussion. Please don't ask me about what makes an artist sound "microtonal..." this is above my pay grade unfortunately (and I do this shit for free), but it's a unique and direct attention to tones and sound, which certainly makes the group stand out. For example, Canadian duo Angine de Poitrine (whose latest album I reviewed recently) also are considered "microtonal." The band's music is often influenced by the German based genre krautrock, drone music, and sometimes dance music too. It can come off as fast paced, hypnotic, repetitive, and groove inducing.

Their new album has the band attempting new things by adding a duo of vocalists into the mix, where Nina Guo and Evelyn Saylor's autotuned vocals that sound chopped up and altered to a point where you really can't tell exactly what they're singing (or at least I can't). It's a neat idea, where at first I was championing but over time, in particular to the moments where the vocals are isolated, I'm not exactly fully on board with it. When the vocals are included within the band's usual stylings like on "Brain of the Firm," they do sound pretty solid in the mix. There is also added clarinet and trombone on certain songs, which I do appreciate. When the vocals' harmonies are lightly added to "Second Galactic Utopia," it sounds just right and its alien like warbly electronic sounds are a nice touch. "After the Last Sky" has a distinctly folky, acoustic direction in its beginning, which is a lovely change of pace, and adds the band's usual guitar and sax tones and rhythms around it. The album's title track has chirpy, pitched electronics that are reminiscent of experimental labelmate Kate NV, light cutesy vocals, and a strong groove, making it one of the album's best moments.

Demand to be Taken to Heaven Alive! has all the things you would want in a Horse Lords record as well as new additional sounds and stylings, whether it be from vocals, genres, effects, or instruments. It may not be my all-time favorite Horse Lords album (that would be Comradery Objects) but it's nonetheless a very solid and impressive addition to the group's ever growing discography. The band aren't afraid to take risks or go into directions that may make contemporaries uncomfortable and the efforts certainly pay off here. In the studio, Horse Lords sound thrilling and are a live force too, so check these guys out if you're ever interested in seeing a uniquely great live show.

My Rating: 7 / 10

Favorite Songs: "Brain of the Firm," "Demand to be Taken to Heaven Alive!," "After the Last Sky," "Second Galactic Utopia"