Atlanta's Little Horn preps new release for July 26 via Whale Heart Records!

Little Horn began when Atlanta musician Keith Forrester wrote some songs about, as per usual, hard stuff he was going through. Being shy and reclusive about singing, it wasn’t until a group picking session in Alabama where he was asked to sing a folk song that everyone else had forgotten the words to that his friend Daniel Bellury noticed his potential. After that fateful day, Daniel stepped in to encourage and produce the aforementioned songs into recorded existence. The very minimal gothic-folk style album Such Pretty Houses was born and released very quietly on the then infant New York label, Whale Heart Records, which Daniel founded, to put out his and his friend’s recordings.

MP3: Little Horn - "Bridges Break"

After some solo and collaborative performances, Keith began to miss being in a band and put out a Craigslist ad. The first response was from Atlanta music composer extraordinaire Neal Williams. He stepped in on bass, sound effects, and keys and brought the immensely talented Dallas Peavey with him to do the drums. They performed the songs from Such Pretty Houses albeit in a newly evolved way involving different sounds and ideas brought about by their unique collaboration. This incarnation of Little Horn was short lived and soon it was back to the drawing board. Somewhat discouraged but steadily writing new material, Keith, during a stint as guitarist in fellow Whale Heart band Lille, recruited their rhythm section consisting of Steve Brown on drums and Daniel’s little brother Rob Bellury on bass. Having primarily been acoustic guitar driven, Keith started feeling the need for an electric counterpart to accompany his stylized and often elaborate picking patterns. Rob suggested his friend DJ Highum. After one audition and a thorough demonstration of his unique skill, DJ was added to the line up rounding off what is know the definitive Little Horn.

Since Such Pretty Houses, the sound has evolved and gotten much bigger. With a dark, southeastern, soul-searching lyrical style accompanied by a distinct low end voice, their lack of shame in wailing their instruments, and having been called any number of combinations of indie, folk, gothic, psychedelic, progressive and rock, Little Horn’s approach is fairly simple: they love what they do, they write what they like, and they hope to be doing it for a long time.