Black Horses Pictures Biography
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There are at least 2 groups with the name “Black Horse”
1) An American band
2) A Mongolian Throat-singing group
Out with the new and in with the old. What started as a two piece metal/blues/industrial mountain of equipment from Seattle has morphed into a three piece minimalist blues punk outfit. After returning from a tour in the UK with friends Tombs (Relapse) that was dominated by equipment breakdowns and power converter overloads, Black Horse decided it was time for a live drummer. They took several months off from touring to bring in Frank DeRienzo and write a new collection of songs, influenced by AP Schroder’s deepening interest in northern Mississippi hill country style blues, including artists such as Elmore James and Fred McDowell. April opted to bring in a Korg MS-20 monosynth to keep things heavy. What has come out if it is a sound akin to the catchy swing of Eagles of Death Metal, with some serious slide guitar action and vocals nodding to a Nick Cave influence on April’s part. Their live shows thus far have inspired nose bleeds, spilt beer and mystery bruises. They seem to be doing what American rock has been working at for decades- bridging the gap between its blues roots and rock and roll.
Black Horse formed in the spring of 2004 when Brooklyn-based Seattle-transplants April Goettle (vocals, guitar, synth) and AP Schroder (vocals, guitar, programming) consolidated their musical endeavors into a duo. Tired of sharing members with other bands who were erratically on tour, thus keeping them in a constant holding pattern, Black Horse emerged as the communion of Goettle, Schroder and a drum machine, pounding out a wall of bleak and blackened rock and roll dirges that marry the scrape of industrial rhythms and distortion with a strong and womanly edge.
On their debut full-length, The Black Arts of Black Horse, Goettle’s vocalizations don’t position her as an antagonist as much as they cast her as a sturdy front woman; a feminist to be sure, friend or foe you decide. She’s a songwriter who understands the balance of language from the brain, the heart and the guts, and the subtle shades with which each one can add grit and color to the others. All of this is underscored by Schroder’s unwavering rhythms that are programmed into the drum machine and ground to bits under an impenetrable duel-guitar traipse.
Each song is a capsule of discomfort, confrontation and catharsis, streamlined and put on display as aggressive pop fodder. Goettle has stated, “If you’re going to bother writing lyrics you want people to hear, they should be worth listening to,” and she has held herself to a strict standard of songwriting that strikes with visceral and challenging tenacity.
The Black Arts… wanders through a terrain of noisy metal riffs and mechanical rhythms under a slow burn of fuzz, melody and undeniable hooks. Think Big Black, the Jesus and Mary Chain circa Psychocandy, Wire’s earliest days, Black Sabbath, PJ Harvey and Texas Chainsaw Massacre soundtrack and you’re in the right neighborhood; and it’s a scary one at that.
Goettle and Schroder have constructed a decidedly lo-fi beast with The Black Arts… One in which the noise and tension that swells between every note and every intentional sound carries just as much weight in the music as everything else.
The album’s opening number, “Shake Shake Shake” is an apocalyptic strip-club banger that is both sleazy and sultry in its worship of riff and strut that is at turns sexy and ominous, captivating and daunting. And as the crash of “Lapdance Technician” grinds forward, the album’s doom-laden atmosphere takes shape. “Hey Sailor” offers brief moment of reflection as Goettle croons over longing, heartbreak and the consequences of bad behavior. But the high-end skulk of steel strings and drum machine miasma only serves to pull the song back into the heat of anxiety and aggression.
This brand of high-energy, high release pace is at the core of Black Horse’s mad dash into the dark side. As such The Black Arts of Black Horse is a disquieting affair; on that strikes below the belt and above and directly to the brain, and will grab young feminists and metal heads alike.
Edited by KSava on 4 Apr 2010, 03:13
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Monte Yellow Bird Sr., better known in the art world as Black Pinto Horse tells stories using a vibrant application of oil paint on canvas in the form of First Nation icons, more specifically of the Plains tribes, adding three-dimensional elements such as shells, feathers, beadwork, etc, as well as creating drawings using colored pencil on antique ledgers, indicative of the 1800’s American Indian ledger style. He signs his paintings and ledger art using the name given through ceremony, Black Pinto Horse.
“If you’re going to shine,
shine brightly”.
The themes of Black Pinto Horse’s work speak to all generations, past, present and future, about the essence of life; for example, the Sacred Water (tstooxu' waaRUxtii), the Tree of Life, and Holy Dog (there is no specific word for horse in Arikara; the combination of the words Holy or sacred and dog make up the word for Horse). In this way, he pays tribute to his spiritual roots; the traditional teachings, ceremonies, and devout Christian faith modeled by his mother.
He paints to educate, and shares, “There are so many stories untold- the issues we face, the incongruities that have occurred to our people, our history and the true heartbeat of our heritage. At its core, lies a harmonic balance between humanity and nature which I like to showcase using bright colors and images that activate the viewer’s imagination.” While listening to a lecture by Black Pinto Horse at Purdue University, it is truly inspirational to feel and experience the love and compassion he has for his people, a driving force which helps him educate in a kind and gentle manner.
“As an artist there are several things that motivate me; the first and what I treasure the most, is sharing First Nation culture, stories, images, colors and art to the public- watching their eyes open a little wider as they listen, look and feel. The second is working with children of all backgrounds and cultures, guiding them to discover who they are through the exchange of culture, stories and art during visual art workshops. Finally, giving back to my people and communities across the nation inspires my artwork”.
Black Pinto Horse is Arikara and Hidatsa from the Fort Berthold Reservation in North Dakota. When he was sixteen he attended the Institute of American Indian Arts which allowed him the opportunity to express himself artistically. He furthered his art and history studies at North Dakota State University, Fargo, ND majoring in History Education with an Art minor. In 2002, he earned a Bachelor of Fine Arts from Minot State University, Minot, ND. Monte and wife Emily, reside in Great Falls MT where he served as the Artist in Residence in 2007 & 2008 with the Great Falls Public schools and Paris Gibson Square Museum.
Since 2004, as innovative entrepreneurs, he and his wife combine fine art and education within their company Black Pinto Horse Fine Arts- they form partnerships with galleries, museums and educational institutions both nationally and internationally. He attends prestigious Indian Art Markets such as Santa Fe, the Heard and Eiteljorg Museums and has collectors worldwide, such as the piece displayed in the permanent collection of the Volkenkunde Museum of Leiden Netherlands.
Within the educational component of their company, Monte provides presentations, lectures and workshops to K-12 school systems, Universities and teachers. Using the springboard of art and culture, weaving together golden threads of history, math and science and trimming it with character building, he guides participants, young and old, down a vibrant trail towards creativity and personal development. He strives to inspire young and old, to learn about whom they are, where they come from and to be proud of their heritage. He comments, “Our answers can be found within our culture for building a better future for our people.”
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