THE MAN WHO WAS RIDING 3 HORSES
I was in a band from 2006 till 2008 called Runciter, it was me , Joff (occasional co-writer, rhythm guitar and vocals), Laura (vocals), Jules then Col (bass) and Paul (drums). We did an album called Billy no mates and we were getting ready to start work on the next one, then, like all bands, we split up. About half the material I had ready for the next Runciter album was left with nowhere to go, so I finished what was there and added a few more to make album here, less live sounding than it would have been if I'd recorded with the band and all sang by me. My eldest came up with the name of the album after I played him the the instrumental track with all the mandolins and banjos. A good choice and one I would never have landed on. There's some good stuff on here as well. The opener was written after I'd been watching Generation Kill, the second I wrote before the first one, after I'd watched Jarhead, hence part 2 ocurring before part 1. Other interesting notes are She wants to move being the most downloaded song I'd ever released despite the fact makes me cringe like buggery whenever I listen to it.
1. Fight now, cry later (Part 2)
2. Fight now, cry later (Part 1)
3. Another outside fear
4. Gone missing
5. Looking downward
6. The man who riding 3 horses
7. She wants to move
8. Angel rocket
9. Lessons
10. When the night comes
Below is a review about The Man Who Riding 3 Horses from Be About It Press, it's behind a paywall, which is a bit annoying, but there you, here's the link for those that think I might have written this myself.
Richard Self - The Man Who Was Riding 3 Horses
An unrestricted, free-wheeling attitude presents itself in the endless possibilities of Richard Self’s “The Man Who Was Riding 3 Horses.” His voice serves as the unifying force for the entire album. The ear for melody is exceptional, allowing for a great many riffs to run through in this unique, vivid, dreamlike quality. Lyrics have a poetry to them, for each verse feels chiseled out of granite, pulled from a life lived to the fullest.
Many reference points emerge from the sonic potpourri he lays down. For the sheer unpredictability, nods to Mount Eerie’s cryptic lyricism and general demeanor waft through the expansive, emotionally heavy works. The timelessness of the tracks touches upon the myth-building of Richard Dawson’s “Peasant.” Like that album, these small stories and narrative snippets build a greater sonic universe. The guitar work feels particularly confident, with glistening tones from both the electric and the acoustic blending into a singular, satisfying whole. On the most stripped-down and raw aspects, nods to the Palace Brothers, Will Oldham’s earliest venture, pop in and out of the fray. These genre twists create uncertainty and, to a lesser extent, some whiplash for the listener, yet they carry a heartfelt, soulful tenor.
A subdued note starts things with the plaintive looking-back ode of “Fight Now Cry Later Part 2.” Expanding the scope enormously, the electronic and acoustic elements on “Fight Now, Cry Later” churn uneasily before quite literally blasting off into loose, emotive drumming. “Another Outside Fear” draws on a classic ‘80s retro flair, from the simple chug of the synthesizer to the monotone vocal delivery. The mysticism of “Gone Missing” swirls in the listener’s mind, taking on a gorgeous hue, with bright colors bursting forth. Completely spent is the pining spirit of “Looking Down,” where guitar work soars up into a vast, unknowable space. “The Man Who Was Riding 3 Horses” strips the sound down to the purest of essentials, letting the minimalism reflect an earnest intimacy. Chiptune influences waft out of the purely electronic reverie of “She Wants to Move,” where a nice electro groove takes hold. Driving, pulsing rhythms give “Angel Rocket” a classic rock quality. Staccato stabs give “Lessons” this dance-rock flavor, and the piece feels perfectly suited for the dancefloor. Little romantic notions echo in the vast space with the finale of “When the Night Falls.”
“The Man Who Was Riding 3 Horses” always does the unexpected, for Richard Self’s work speaks to a deeper freedom, one unconfined by genres and purity beyond that of absolute liberty.