The long, droning noise that comes from Horseback is similar in style to what the darkness of the large pines at night would bring. It is the interpretation of mystery that is extended from Horseback’s full, but raspy sense of approach that delivers organized and understandable style. While the 2010 release, The Invisible Mountain is never deafening, it does show potential to be an overbearing monster of fragmented features.
The record opens with a chant-esque, tribal rationality of “Invokation”, a track that borders on the lines of becoming a building Karma to Burn tribute, and the blurred lines of a mountainous climb. It contains a sense of immense droning sound that lingers throughout the near seven-minute journey that reflects as a mirror upon the rust that is layered deep over the production. Though the ominous wood chimes show a real protest of charm, the primary instrumental is rough and off-putting. It takes little time to illustrate the conveyer belts of savagery that is pushed through the percussion, but primarily through the voice that is overlaid that sounds more like a creature of the night than anything human. The twisted features of the beast are present throughout and can display a larger sense of predatory style. Horseback continues this style as it begins to move onto “Tyrant Symmetry”, where the fuzz and heavily reverbed guitar begins to loop as a backing track to the cymbal-heavy percussion and the foreground guitar that shines through a charismatic glimmer.
It is also through “Tyrant Symmetry” is there a disconnect of the trance style that was laid out before, and is there a bigger focus on creating a more-loose adaptation of the sound. Horseback is progressively violent through The Invisible Mountain, but still has a sense of being able to showcase immense understandability as well. The production of the record is displayed through the simmering percussion that acts as a conduit for the lo-fi recording of the guitars and the near-endless track styling. As The Invisible Mountain continues, the journey becomes a dance with death; a slow waltz that tilts on being a graceful set of movements that eventually lead to the final track, “Hatecloud Dissolving Into Nothing”.
While also the longest of the tracks present, “Hatecloud Dissolving Into Nothing” is also the most significant as it creates the largest changes of stance from Horseback. The opening is a subtle, introductory scent of foreboding glory as the shift into these rising and settling moments where the atmosphere takes full control is incredible. There are moments on The Invisible Mountain where Horseback is a transforming piece that sits a top a ridge overseeing a valley far below. The clouds where the final moments sit is breathtaking and awe-inspiring; while the journey is treacherous.
There is the constant dichotomy between the overarching sound of The Invisible Mountain as it is able to both create and destroy. It can build, but also destruct, all through the power of sound. It is impressive and worthwhile, but also rusted and maniacal. The shifting environment conflicts, but ultimately aids in the final project. The Invisible Mountain is grand in presentation and stays true to the fertility of nature.