I Break Horses shares I Live At Night (Live At Night)

Having released her new album Warnings on May 8th via Bella Union, I Break Horses today shares a live video performance for “I Live At Night”, which is also now available digitally on streaming platforms. The video recorded live in Lindén’s back garden was originally broadcast as part of the Bella Union ILOVERECORDSTORES day celebrations.

“Vivid, noirish narratives that are well-set to their masterful, atmospheric music” NME – 8/10

“A beautiful record tempered to a slower pace of life.” The Line of Best Fit

“The best I Break Horses album so far, which fulfils their Beach House-go-Kraftwerk promise, in metronomic, reverie-inducing songs… Hypnotic stuff.” Q – 4 stars ****

“The music is statelier than ever: a hypnotic, electronic take on shoegazing framing Linden’s bleached-out voice with a pulsating keyboard wash and twinkling arpeggios. A mood piece seemingly reflecting on heartbreak, the album is crowned by the extraordinary, seven-minutes-plus ‘Death Engine’, where Linden’s emotions are at their rawest.” MOJO – 4 stars ****

“Lushly layered art-pop songs such as ‘I’ll Be The Death Of You’, which channels Kraftwerk with its relentless beats and synth arpeggios, and the epic ‘Death Engine’ on which Linden’s ethereal vocals encapsulate shoegaze at it’s dreamiest best.” Uncut – 7/10

“Lush and cinematic… Linden builds huge walls of sound, one minute Bach-like, the next evoking Kraftwerk, as her beautiful singing voice, midway between Dusty Springfield and Bat For Lashes, delivers lyrics of real anger and bite.” Sunday Times

Warnings majors in the sort of gently woozy homemade synthscapes that defined its predecessor, most effective on I’ll Be The Death Of You and the nimble, propulsive, Kraftwerk-influenced Neon Lights.” The Observer

Happy Release Day to I Break Horses

With the new album Warnings out today, I Break Horses has shared another live session recorded in quarantine by Marina herself, this time for the track ‘Death Engine’. You can buy your copy of Warnings here as well as stream the album on Spotify here.

If I Break Horses’ third album holds you in its grip like a great film, it’s no coincidence. Faced with making the follow-up to 2014’s plush Chiaroscuro, Horses’s Maria Lindén decided to take the time to make something different, with an emphasis on instrumental, cinematic music. As she watched a collection of favourite films on her computer (sound muted) and made her own soundtrack sketches, these sonic workouts gradually evolved into something more: “It wasn’t until I felt an urge to add vocals and lyrics,” says Lindén, “that I realized I was making a new I Break Horses album.”

That album is Warnings, an intimate and sublimely expansive return that, as its recording suggests, sets its own pace with the intuitive power of a much-loved movie. And, as the title suggests, the sumptuous sound worlds – dreamy mellotrons, haunting loops, analogue synths – and layered lyrics crackle with immersive dramatic tensions on many levels. “It’s not a political album,” says Lindén, “though it relates to the alarmist times we live in. Each song is a subtle warning of something not being quite right.”  

As Lindén notes, the process of making Warnings involved different kinds of dramas. “It has been some time in the making. About six years, involving several studios, collaborations that didn’t work out, a crashed hard drive with about two years of work, writing new material again instead of trying to repair it. New studio recordings, erasing everything, then recording most of the album myself at home…”

Yet the pay-off for her long-haul immersion is clear from statement-of-intent album opener ‘Turn’, a waltzing kiss-off to an ex swathed in swirling synths over nine emotive minutes. On ‘Silence’, Lindén suggests deeper sorrows in the interplay of serene surface synths, hypnotic loops and elemental images: when she sings “I feel a shiver,” you feel it, too.

Elsewhere, on three instrumental interludes, Lindén’s intent to experiment with sound and structure is clear. Meanwhile, there are art-pop songs here more lush than any she has made. ‘I’ll Be the Death of You’ occupies a middle ground between Screamedelica and early OMD, while ‘Neon Lights’ brings to mind Kraftwerk on Tron’s light grid. ‘I Live At Night’ slow-burns like a song made for night-time LA drives; ‘Baby You Have Travelled for Miles without Love in Your Eyes’ is an electronic lullaby spiked with troubling needle imagery. ‘Death Engine’’s dark-wave dream-pop provides an epic centrepiece, of sorts, before the vocoder hymnal of closer ‘Depression Tourist’ arrives like an epiphany, the clouds parting after a long, absorbing journey.

For Lindén, Warnings is a remarkable re-routing of a journey begun when I Break Horses’s debut album, Hearts (2011), drew praise from PitchforkThe GuardianNMEThe Independent and others for its luxurious grandeur and pulsing sense of art-pop life. With the electro-tangents of 2014’s Chiaroscuro, Lindén forged a new, more ambitious voice with total confidence. Along the way, I Break Horses toured with M83 and Sigur Rós; latterly, U2 played Hearts’ ecstatic ‘Winter Beats’ through the PA before their stage entrance on 2018’s ‘Experience + Innocence’ tour. Good choice.

A new friend on Warnings is US producer/mixing engineer Chris Coady, whose graceful way with dense sound (credits include Beach House, TV on the Radio) was not the sole reason Lindén invited him to mix the album. “Before reaching out to Chris I read an interview where he said, ‘I like to slow things down. Almost every time I love the sound of something slowed down by half, but sometimes 500% you can get interesting shapes and textures.’ And I just knew he’d be the right person for this album.”

If making Warnings was a slow process, so be it: that steady gestation was a price worth paying for its lavish accretions of detail and meaning, where secrets aplenty await listeners eager to immerse themselves. “Nowadays, the attention span equals nothing when it comes to how most people consume music,” Lindén says. “And it feels like songs are getting shorter, more ‘efficient’. I felt an urge to go against that and create an album journey from start to finish that takes time and patience to listen to. Like, slow the fuck down!” Happily, Warnings provides all the incentives required.

I Break Horses performs ‘Death Engine’ live

With their new album Warnings due for release this Friday via Bella Union, and having previously shared videos for ‘Death Engine’‘I’ll Be The Death Of You’ and ‘Neon Lights’, I Break Horses today share a live session recording of lead track “Death Engine”. The recording is accompanied by a beautiful outdoor video, shot and edited by Maria Lindén.

If I Break Horses’ third album holds you in its grip like a great film, it’s no coincidence. Faced with making the follow-up to 2014’s plush Chiaroscuro, Horses’s Maria Lindén decided to take the time to make something different, with an emphasis on instrumental, cinematic music. As she watched a collection of favourite films on her computer (sound muted) and made her own soundtrack sketches, these sonic workouts gradually evolved into something more: “It wasn’t until I felt an urge to add vocals and lyrics,” says Lindén, “that I realized I was making a new I Break Horses album.”

That album is Warnings, an intimate and sublimely expansive return that, as its recording suggests, sets its own pace with the intuitive power of a much-loved movie. And, as the title suggests, the sumptuous sound worlds – dreamy mellotrons, haunting loops, analogue synths – and layered lyrics crackle with immersive dramatic tensions on many levels. “It’s not a political album,” says Lindén, “though it relates to the alarmist times we live in. Each song is a subtle warning of something not being quite right.”

As Lindén notes, the process of making Warnings involved different kinds of dramas. “It has been some time in the making. About six years, involving several studios, collaborations that didn’t work out, a crashed hard drive with about two years of work, writing new material again instead of trying to repair it. New studio recordings, erasing everything, then recording most of the album myself at home…”

Yet the pay-off for her long-haul immersion is clear from statement-of-intent album opener ‘Turn’, a waltzing kiss-off to an ex swathed in swirling synths over nine emotive minutes. On ‘Silence’, Lindén suggests deeper sorrows in the interplay of serene surface synths, hypnotic loops and elemental images: when she sings “I feel a shiver,” you feel it, too.

Elsewhere, on three instrumental interludes, Lindén’s intent to experiment with sound and structure is clear. Meanwhile, there are art-pop songs here more lush than any she has made. ‘I’ll Be the Death of You’ occupies a middle ground between Screamedelica and early OMD, while ‘Neon Lights’ brings to mind Kraftwerk on Tron’s light grid. ‘I Live At Night’ slow-burns like a song made for night-time LA drives; ‘Baby You Have Travelled for Miles without Love in Your Eyes’ is an electronic lullaby spiked with troubling needle imagery. ‘Death Engine’’s dark-wave dream-pop provides an epic centrepiece, of sorts, before the vocoder hymnal of closer ‘Depression Tourist’ arrives like an epiphany, the clouds parting after a long, absorbing journey.

For Lindén, Warnings is a remarkable re-routing of a journey begun when I Break Horses’s debut album, Hearts (2011), drew praise from PitchforkThe GuardianNMEThe Independent and others for its luxurious grandeur and pulsing sense of art-pop life. With the electro-tangents of 2014’s Chiaroscuro, Lindén forged a new, more ambitious voice with total confidence. Along the way, I Break Horses toured with M83 and Sigur Rós; latterly, U2 played Hearts’ ecstatic ‘Winter Beats’ through the PA before their stage entrance on 2018’s ‘Experience + Innocence’ tour. Good choice.

A new friend on Warnings is US producer/mixing engineer Chris Coady, whose graceful way with dense sound (credits include Beach House, TV on the Radio) was not the sole reason Lindén invited him to mix the album. “Before reaching out to Chris I read an interview where he said, ‘I like to slow things down. Almost every time I love the sound of something slowed down by half, but sometimes 500% you can get interesting shapes and textures.’ And I just knew he’d be the right person for this album.”

If making Warnings was a slow process, so be it: that steady gestation was a price worth paying for its lavish accretions of detail and meaning, where secrets aplenty await listeners eager to immerse themselves. “Nowadays, the attention span equals nothing when it comes to how most people consume music,” Lindén says. “And it feels like songs are getting shorter, more ‘efficient’. I felt an urge to go against that and create an album journey from start to finish that takes time and patience to listen to. Like, slow the fuck down!” Happily, Warnings provides all the incentives required.

I Break Horses debuts ‘Neon Lights’

With their new album Warnings due for release 8th May via Bella Union, and having previously shared videos for ‘Death Engine’ and ‘I’ll Be The Death Of You’, I Break Horses today shares a technicolour lyric video for new single “Neon Lights”. Of the track Maria Lindén says: “An anthem for all of us who have ever felt like we didn’t fit in. It is trying to give a glimpse of hope to all outsiders who feel like they can’t find their way and to show the world that being a ‘misfit’ is a beautiful thing, not something to be pushed aside.”

If I Break Horses’ third album holds you in its grip like a great film, it’s no coincidence. Faced with making the follow-up to 2014’s plush Chiaroscuro, Horses’s Maria Lindén decided to take the time to make something different, with an emphasis on instrumental, cinematic music. As she watched a collection of favourite films on her computer (sound muted) and made her own soundtrack sketches, these sonic workouts gradually evolved into something more: “It wasn’t until I felt an urge to add vocals and lyrics,” says Lindén, “that I realized I was making a new I Break Horses album.”

That album is Warnings, an intimate and sublimely expansive return that, as its recording suggests, sets its own pace with the intuitive power of a much-loved movie. And, as the title suggests, the sumptuous sound worlds – dreamy mellotrons, haunting loops, analogue synths – and layered lyrics crackle with immersive dramatic tensions on many levels. “It’s not a political album,” says Lindén, “though it relates to the alarmist times we live in. Each song is a subtle warning of something not being quite right.”  

As Lindén notes, the process of making Warnings involved different kinds of dramas. “It has been some time in the making. About six years, involving several studios, collaborations that didn’t work out, a crashed hard drive with about two years of work, writing new material again instead of trying to repair it. New studio recordings, erasing everything, then recording most of the album myself at home…”

Yet the pay-off for her long-haul immersion is clear from statement-of-intent album opener ‘Turn’, a waltzing kiss-off to an ex swathed in swirling synths over nine emotive minutes. On ‘Silence’, Lindén suggests deeper sorrows in the interplay of serene surface synths, hypnotic loops and elemental images: when she sings “I feel a shiver,” you feel it, too.

Elsewhere, on three instrumental interludes, Lindén’s intent to experiment with sound and structure is clear. Meanwhile, there are art-pop songs here more lush than any she has made. ‘I’ll Be the Death of You’ occupies a middle ground between Screamedelica and early OMD, while ‘Neon Lights’ brings to mind Kraftwerk on Tron’s light grid. ‘I Live At Night’ slow-burns like a song made for night-time LA drives; ‘Baby You Have Travelled for Miles without Love in Your Eyes’ is an electronic lullaby spiked with troubling needle imagery. ‘Death Engine’’s dark-wave dream-pop provides an epic centrepiece, of sorts, before the vocoder hymnal of closer ‘Depression Tourist’ arrives like an epiphany, the clouds parting after a long, absorbing journey.

For Lindén, Warnings is a remarkable re-routing of a journey begun when I Break Horses’s debut album, Hearts (2011), drew praise from PitchforkThe GuardianNMEThe Independent and others for its luxurious grandeur and pulsing sense of art-pop life. With the electro-tangents of 2014’s  Chiaroscuro, Lindén forged a new, more ambitious voice with total confidence. Along the way, I Break Horses toured with M83 and Sigur Rós; latterly, U2 played Hearts’ ecstatic ‘Winter Beats’ through the PA before their stage entrance on 2018’s ‘Experience + Innocence’ tour. Good choice.

A new friend on Warnings is US producer/mixing engineer Chris Coady, whose graceful way with dense sound (credits include Beach House, TV on the Radio) was not the sole reason Lindén invited him to mix the album. “Before reaching out to Chris I read an interview where he said, ‘I like to slow things down. Almost every time I love the sound of something slowed down by half, but sometimes 500% you can get interesting shapes and textures.’ And I just knew he’d be the right person for this album.”

If making Warnings was a slow process, so be it: that steady gestation was a price worth paying for its lavish accretions of detail and meaning, where secrets aplenty await listeners eager to immerse themselves. “Nowadays, the attention span equals nothing when it comes to how most people consume music,” Lindén says. “And it feels like songs are getting shorter, more ‘efficient’. I felt an urge to go against that and create an album journey from start to finish that takes time and patience to listen to. Like, slow the fuck down!” Happily, Warnings provides all the incentives required.

I Break Horses debut ‘I’ll Be The Death Of You’

Having last week announced their return via the track ‘Death Engine’, today I Break Horses have unveiled a visually striking video for new single ‘I’ll Be The Death Of You’ from their upcoming third LP Warnings, released 8th May via Bella Union and available to pre-order here. The video was directed by Douglas Hart who has created videos for the likes of My Bloody Valentine, The Horrors, The Libertines, Primal Scream and many more. Of the video Hart says: “With a song so beautifully arranged and musically textured, the video needed to mirror this by using extremes of colour and light to underscore the sound. Also musically the song has an epic quality… So the dramatic locations were chosen to match the scope of the arrangement.”

If I Break Horses’ third album holds you in its grip like a great film, it’s no coincidence. Faced with making the follow-up to 2014’s plush Chiaroscuro, Horses’s Maria Lindén decided to take the time to make something different, with an emphasis on instrumental, cinematic music. As she watched a collection of favourite films on her computer (sound muted) and made her own soundtrack sketches, these sonic workouts gradually evolved into something more: “It wasn’t until I felt an urge to add vocals and lyrics,” says Lindén, “that I realized I was making a new I Break Horses album.”

That album is Warnings, an intimate and sublimely expansive return that, as its recording suggests, sets its own pace with the intuitive power of a much-loved movie. And, as the title suggests, the sumptuous sound worlds – dreamy mellotrons, haunting loops, analogue synths – and layered lyrics crackle with immersive dramatic tensions on many levels. “It’s not a political album,” says Lindén, “though it relates to the alarmist times we live in. Each song is a subtle warning of something not being quite right.”

As Lindén notes, the process of making Warnings involved different kinds of dramas. “It has been some time in the making. About six years, involving several studios, collaborations that didn’t work out, a crashed hard drive with about two years of work, writing new material again instead of trying to repair it. New studio recordings, erasing everything, then recording most of the album myself at home…”

Yet the pay-off for her long-haul immersion is clear from statement-of-intent album opener ‘Turn’, a waltzing kiss-off to an ex swathed in swirling synths over nine emotive minutes. On ‘Silence’, Lindén suggests deeper sorrows in the interplay of serene surface synths, hypnotic loops and elemental images: when she sings “I feel a shiver,” you feel it, too.

Elsewhere, on three instrumental interludes, Lindén’s intent to experiment with sound and structure is clear. Meanwhile, there are art-pop songs here more lush than any she has made. ‘I’ll Be the Death of You’ occupies a middle ground between Screamedelica and early OMD, while ‘Neon Lights’ brings to mind Kraftwerk on Tron’s light grid. ‘I Live At Night’ slow-burns like a song made for night-time LA drives; ‘Baby You Have Travelled for Miles without Love in Your Eyes’ is an electronic lullaby spiked with troubling needle imagery. ‘Death Engine’’s dark-wave dream-pop provides an epic centrepiece, of sorts, before the vocoder hymnal of closer ‘Depression Tourist’ arrives like an epiphany, the clouds parting after a long, absorbing journey.

For Lindén, Warnings is a remarkable re-routing of a journey begun when I Break Horses’s debut album, Hearts (2011), drew praise from PitchforkThe GuardianNMEThe Independent and others for its luxurious grandeur and pulsing sense of art-pop life. With the electro-tangents of 2014’s Chiaroscuro, Lindén forged a new, more ambitious voice with total confidence. Along the way, I Break Horses toured with M83 and Sigur Rós; latterly, U2 played Hearts’ ecstatic ‘Winter Beats’ through the PA before their stage entrance on 2018’s ‘Experience + Innocence’ tour. Good choice.

A new friend on Warnings is US producer/mixing engineer Chris Coady, whose graceful way with dense sound (credits include Beach House, TV on the Radio) was not the sole reason Lindén invited him to mix the album. “Before reaching out to Chris I read an interview where he said, ‘I like to slow things down. Almost every time I love the sound of something slowed down by half, but sometimes 500% you can get interesting shapes and textures.’ And I just knew he’d be the right person for this album.”

If making Warnings was a slow process, so be it: that steady gestation was a price worth paying for its lavish accretions of detail and meaning, where secrets aplenty await listeners eager to immerse themselves. “Nowadays, the attention span equals nothing when it comes to how most people consume music,” Lindén says. “And it feels like songs are getting shorter, more ‘efficient’. I felt an urge to go against that and create an album journey from start to finish that takes time and patience to listen to. Like, slow the fuck down!” Happily, Warnings provides all the incentives required.

I Break Horses returns with ‘Warnings’

Six years since their last studio album, I Break Horses today announce news of Warnings, their long-awaited third LP, released 8thMay via Bella Union and available to pre-order here. To mark the release, I Break Horses have shared a visually arresting self-made video for lead track “Death Engine”. Of the track, the lyrics of which highlight the troubled minds of today’s youth in our harsh contemporary times, Maria Lindén says: “The song, which was written in connection to a close friend’s suicide attempt, also reflects upon the increasing reports that suicide is the second leading cause of death among Generation Z, with this age group having more mental health issues than any other generation.”

If I Break Horses’ third album holds you in its grip like a great film, it’s no coincidence. Faced with making the follow-up to 2014’s plush Chiaroscuro, Horses’s Maria Lindén decided to take the time to make something different, with an emphasis on instrumental, cinematic music. As she watched a collection of favourite films on her computer (sound muted) and made her own soundtrack sketches, these sonic workouts gradually evolved into something more: “It wasn’t until I felt an urge to add vocals and lyrics,” says Lindén, “that I realized I was making a new I Break Horses album.”

That album is Warnings, an intimate and sublimely expansive return that, as its recording suggests, sets its own pace with the intuitive power of a much-loved movie. And, as the title suggests, the sumptuous sound worlds – dreamy mellotrons, haunting loops, analogue synths – and layered lyrics crackle with immersive dramatic tensions on many levels. “It’s not a political album,” says Lindén, “though it relates to the alarmist times we live in. Each song is a subtle warning of something not being quite right.” 

As Lindén notes, the process of making Warnings involved different kinds of dramas. “It has been some time in the making. About six years, involving several studios, collaborations that didn’t work out, a crashed hard drive with about two years of work, writing new material again instead of trying to repair it. New studio recordings, erasing everything, then recording most of the album myself at home…”

Yet the pay-off for her long-haul immersion is clear from statement-of-intent album opener ‘Turn’, a waltzing kiss-off to an ex swathed in swirling synths over nine emotive minutes. On ‘Silence’, Lindén suggests deeper sorrows in the interplay of serene surface synths, hypnotic loops and elemental images: when she sings “I feel a shiver,” you feel it, too.

Elsewhere, on three instrumental interludes, Lindén’s intent to experiment with sound and structure is clear. Meanwhile, there are art-pop songs here more lush than any she has made. ‘I’ll Be the Death of You’ occupies a middle ground between Screamedelica and early OMD, while ‘Neon Lights’ brings to mind Kraftwerk on Tron’s light grid. ‘I Live At Night’ slow-burns like a song made for night-time LA drives; ‘Baby You Have Travelled for Miles without Love in Your Eyes’ is an electronic lullaby spiked with troubling needle imagery. ‘Death Engine’’s dark-wave dream-pop provides an epic centrepiece, of sorts, before the vocoder hymnal of closer ‘Depression Tourist’ arrives like an epiphany, the clouds parting after a long, absorbing journey.

For Lindén, Warnings is a remarkable re-routing of a journey begun when I Break Horses’s debut album, Hearts (2011), drew praise from PitchforkThe GuardianNMEThe Independent and others for its luxurious grandeur and pulsing sense of art-pop life. With the electro-tangents of 2014’s Chiaroscuro, Lindén forged a new, more ambitious voice with total confidence. Along the way, I Break Horses toured with M83 and Sigur Rós; latterly, U2 played Hearts’ ecstatic ‘Winter Beats’ through the PA before their stage entrance on 2018’s ‘Experience + Innocence’ tour. Good choice.

A new friend on Warnings is US producer/mixing engineer Chris Coady, whose graceful way with dense sound (credits include Beach House, TV on the Radio) was not the sole reason Lindén invited him to mix the album. “Before reaching out to Chris I read an interview where he said, ‘I like to slow things down. Almost every time I love the sound of something slowed down by half, but sometimes 500% you can get interesting shapes and textures.’ And I just knew he’d be the right person for this album.”

If making Warnings was a slow process, so be it: that steady gestation was a price worth paying for its lavish accretions of detail and meaning, where secrets aplenty await listeners eager to immerse themselves. “Nowadays, the attention span equals nothing when it comes to how most people consume music,” Lindén says. “And it feels like songs are getting shorter, more ‘efficient’. I felt an urge to go against that and create an album journey from start to finish that takes time and patience to listen to. Like, slow the fuck down!” Happily, Warnings provides all the incentives required.