Long considered one of the most inventive producers of his generation, Matthew Herbert’s restless fascination with sampling has created some starkly original releases in recent years. Since starting to score for film in the late ’90s, the composer has spent much time creating ingenious rhythms from various body parts, raising complex questions regarding consumerism and our relationship with the animal kingdom.
With his latest album, The Horse, Herbert takes another remarkable leap. Expanding an idea that surfaced while writing a horror film score, he decided to purchase a full-size horse skeleton and use various parts as source material for sonic reanimation. Working with instrument-makers, the London Contemporary Orchestra and numerous world-leading soloists, The Horse is perhaps Herbert’s most inexplicable yet compelling experiment to date.
