Ryan Kennedy is Horsebeach, the man responsible for delivering seemingly effortless, dreamy guitar pop which will reduce you emotionally and somehow cause you to feel both happy and sad simultaneously. If you’re from around Manchester and ever venture into Piccadilly Records then you’re probably aware of this already. However if this is news to you then you should really take some time out to have a listen.
Horsebeach’s self-titled debut album was written over the space of a year, yet recorded in just two weeks in Ryan’s Manchester flat before it was released to the public. There is a certain melancholic beauty about Kennedy’s music which will leave you captivated and confused; cheery guitar riffs and bouncy drum grooves are cleverly juxtaposed with painstakingly raw and heartfelt lyrics. Horsebeach takes listeners on a meander through peaceful tales of love, loss and life in general.
The same can be said for his latest release, Kennedy’s second album, titled II. A dramatic step up from his debut both in terms of structure and instrumentation, II is somewhat reminiscent of 80s dream pop, made apparent by the heavier use of keyboard and floaty synth which serves to add yet another sumptuous layer to each track – as if they weren’t intricate enough already. II also features the use of sampling and contributions from a female vocalist.
The highly anticipated album begins with the hazy sounds of a Chinese city in the early hours of the morning as we hear the faint screech of traffic, portraying the tranquillity of a city before the chaos begins. The entirely instrumental ‘Intro’ provides II with the dreamy, hazy and authentic foundation which it so truly deserves.
II stays true to Horsebeach’s jazzy drum loops however experiments more with patterns, adding more use of the snare, crashes and heavy use of cross-sticking. The record is heavily centred around downy and delicate guitar riffs which are twisted and altered via the use of distortion whilst Ryan’s shadowy vocals resonate above. Kennedy remains honourably humble throughout the album. Tracks such as ‘Let You Down’ provide us with a insight into his own mental state; Kennedy repeats the phrases “it was the perpetual death of our innoncence” and “what have I done” against the backdrop of a bouncy guitar hook and what sounds like a wooden guiro, showcasing his instrumental experimentation.
II exhibits the introspection we all wish we were brave enough (never mind talented enough) to voice, and once again, Ryan Kennedy does it with admirable beauty.
Words by Katy Hambleton