Fresh Horses Ride Into The Sunset With A Debut That Feels Timeless
- Editorial Board
- 2 days ago
- 3 min read
A self-titled debut steeped in Laurel Canyon warmth, New Orleans soul, New York groove, and the dusty romance of the open road.
There are albums that demand your attention, and then there are albums that quietly settle into your life. Fresh Horses belongs firmly in the second category.
The debut release from Fresh Horses, the collaboration between songwriter, guitarist, producer, and mixer Roderick Hohl and singer-songwriter Scott McCord, arrives with little interest in modern trends, algorithms, or sonic gimmicks.
Instead, it feels as though it emerged from a record shelf somewhere between Laurel Canyon, New Orleans, Greenwich Village, and a smoky Minnesota jazz club. The project was built around the songwriting partnership of Hohl and McCord and released in spring 2026.
From the opening moments of “Going Down Hard, Going Down Fast,” it becomes apparent that this is an album driven by musicianship rather than spectacle or gimmicks. The drums sit comfortably in the mix, never overpowering the songs yet still carrying their journey. Thick guitars stretch across the stereo field like heat waves over a desert highway. B3 organs breathe underneath the arrangements. Wurlitzer lines drift in and out like old memories and old drawings.
Tracks such as “Flying Solo,” “Leona,” “High Pines Boulevard,” and “Dark Sky Blues” showcase a band that understands restraint. Nothing feels rushed. Nothing feels forced.
The performances unfold naturally, allowing the songs to lead the way and narrate their journey as a riding a horse.
What makes Fresh Horses particularly compelling is its refusal to belong to a single genre. There is rock and roll at its core, certainly, but traces of Americana, roots rock, soul, folk, country rock, jazz, and vintage rhythm-and-blues can be heard throughout. The result is music that feels familiar without ever sounding derivative.
The guitar work is rich and textured. The keyboards add warmth rather than decoration. The rhythm section provides movement without demanding attention. Every instrument serves the song. Even when the arrangements become expansive, there is always a sense of space and air around the performances. The songwriting is poetic and Bob Dylan-eque. This is a record made by musicians.
Perhaps that is why the record feels so soothing. There is an edge to these songs, but it is not a violent one. Instead, the instruments and vocals seem to penetrate the soul gently. The album carries the feeling of driving west, east, north or south with no set destination, watching mountains disappear in the rearview mirror while the sun sinks into the horizon.
It is difficult not to wonder whether somewhere inside the recording studio there might have been a Faraway Tree guiding the process of connecting worlds and music genres. Fans of MGM’s From may recognize Scott McCord from his portrayal of Victor, but here he steps into an entirely different role, helping deliver a collection of songs that feel remarkably lived-in and sincere. Alongside Roderick Hohl’s songwriting and production, the duo have crafted a record that sounds simultaneously nostalgic and fresh.
At just twelve songs and roughly forty-two minutes, Fresh Horses never overstays its welcome. It moves like a road trip through changing landscapes, each track offering a new view while remaining connected to the same journey.
In an era where many albums feel designed for playlists, Fresh Horses feels designed for listeners who are meant to take a journey.
Put it on during your next drive West. Or North. Or South. Or East
Just make sure the road is long enough.
