New Old Horse is an epic, in scope and in mood. A nervously writhing thing, it twists and turns, collapses in on itself, builds itself up again and then strips itself clean, in furious, sweating catharsis.
Adelaide band Twine’s debut record is one of the most ambitious and impressively executed guitar records of 2024. Released through Kitty Records (doris, Garage Sale et al.) New Old Horse sits uniquely amongst this burgeoning interstate network of Aus DIY rock bands. There’s influences, of course, but woven together into its own, unique wicker man; carefully constructed, then set alight.
The record takes obvious cues from the impactful noise of post-hardcore bands like Unwound. Heavy blankets of guitars stomp and crash throughout, with a deliriously frissionary satisfaction. Twine are always right on the nerve; explosive or poised with the possibility to do so. Thea Martin’s searing violin is played as if they’re trying to rip the instrument itself to shreds, and Thomas Katsaras’ vocals are not quite screams, more nervy howls or yelps. New Old Horse often feels like a much needed tac-vom, or a white-knuckled bloodletting; Twine thrashing and gnawing their way through.
That emotional intensity is, however, charged with purpose; any immolation is done with an intentional determination. Katsaras exercises a number of suburban demons on New Old Horse: visceral descriptions of mind, body and soul in a cycle of turmoil, release and regeneration; be it a “plastic pony with a broken leg,” or an itch that has “scratched itself out.” Each dramatic crescendo across the record thus carries an immensely satisfying release – the hopeful melody of ‘Spine’ that explodes out of its opening deluge, the slowly heightening ‘High Tide Loose Change,’ or the closing hammer blows of ‘My God.’
As important to Twine’s DNA is country music. It’s a kindredness to bands like Wednesday and their recent brand of ‘country-gaze’ rock music (Alex Farrar, who produced that band’s latest record Rat Saw God, also mixed New Old Horse). In the quieter moment of New Old Horse it allows Twine a chance to lick their self-inflicted wounds, with more gentle reflection. As much as they often try to break the constraints of their own songs – they know how to write one, too.
Words by Lindsay Riley