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"Brooklyn’s Black Horse is a new, ear-blowing rock band led by a gorgeous brunette named April, whose vocals resemble a young Courtney Love. Their unusually slow, eerie tracks offer dramatic, heart stomping riffs from twin guitars that’ll intoxicate listeners more than too many Jack Daniels. Guitarists Goettle and Schroder's interplay create dark, suspenseful but unpolished atmospheres made of junkie groans and pained wails. “I’ve been doing bad things again, why won’t these voices leave me alone?” she questions along to a distorted, entrancing beat that is “Sunrise, Sunset” a far cry from Fiddler on the Roof. Black Horse’s album - like all the best ones - has to be taken in and absorbed to be fully appreciated and enjoyed." - Stephanie Nolasco {Deli Magazine NYC)

"Much of the advance press around Brooklyn-via-Seattle duo Black Horse found the band being positioned as dour doom-rock merchants who crib equally from the blackest of sources (Black Sabbath and Big Black, to be exact). While it’s true that singers/guitarists April Goettle and A.P. Schroder thrive at the intersection of abusive drum-machine programming and overdriven blues licks, the songs on The Black Arts Of Black Horse build a mood that’s anything but blackened. Like their nearest precedents—Royal Trux and Boss Hog (with some Jucifer thrown in for when things get especially heavy)—Black Horse never hide the hooks beneath their red-lined distortion pedals and dry, detached vocals. On the slack, swampy “Hey Sailor,” the drum machine grinds its gears as Goettle and Schroder stack riffs that are alternately AC/DC- and (no fooling) James Brown-inspired. Lyrically, the song is also among the album’s biggest bum-outs, with Goettle—alternately a dead ringer for PJ Harvey and Courtney Love—moaning through a lament on broken dreams and broken hearts. Despite the miserable vibes, Goettle’s melodies are infinitely hummable—while it may not be the sort of blackness doom-and-gloom purists expect, Black Horse’s ability to strike such a balance is quite the musical dark art." - AARON BURGESS Tuesday, April 22nd, 2008 (Paperthinwalls.com)

"Marrying musical genres is a longstanding trick of the trade, and logical formula from which much of today's most interesting and listenable product was born. But with "Shake, Shake, Shake," the lead tune from Black Horse's debut, The Black Arts of Black Horse (self-released April 8), bridging the gaps has never been more refined, as the duo mix the minutiae of different yet closely related rock niches into one. Trudging out with a heavy riff and mechanical drumming reminiscent of Marilyn Manson's late '90s work, "Shake, Shake, Shake" soon settles into an industrial-esque dirge with intonations of wall-o-fuzz art-metal. But as the tune pushes on, and co-vocalist, guitarist, and keyboardist April Goettle's vocals come to the forefront, the tune's garage rock qualities hold their ground; her lyrics and vocals paired with co-vocalist, guitarist, and programmer AP Schroder's flat screech, blend with the decidedly heavy instrumentation to deliver an untapped form of barroom sass. "I'm the kind of girl that likes to shake, shake, shake," Goettle belts over a sludgy mix of distant riffs, drum machines, and layered white noise. Chiefly a fuzzed over three chord rouser, "Shake, Shake, Shake," despite its musical simplicity, arrives with an acute sense of urgency; maybe after years in various bands, Goettle and Schroder's Black Horse has shaken up just the right formula." WILLIAM GOODMAN (spin.com)

Illegitemate childs of Fred McDowell, Slim Harpo, Elmo Williams, Robert Johnson, and Wal Mart.