This album starts off with “Hologram”, and right off the bat this is certainly much more impactful and more punchy than anything The Horrors have done in a LONG time. I mean, these synths are absolutely gigantic. Not only that, the band is clearly embracing so much more of their electronic sound. They’ve always had very breezy synths in their music. But this is next level for The Horrors. To be honest, it sounds wonderful, and it keeps that sort of darkness that the band has kept for years. But for those of you that enjoy albums like “Skying”, this album still has so much to offer as far as big atmospheres and Shoegaze influences. There are also elements of New Wave and Post Punk sprinkles here and there. Overall, “Hologram” is a really solid intro. It shows just what I wanted to hear from The Horrors, and that is branching out into slightly more abrasive territory while keeping what’s made them famous, to begin with. It’s breezy, it’s sleek, it’s groovy and totally hip. Then we have “Press Enter to Exit”, and I love just how dark and patient this one is right from its intro. But ma, this one opens up quickly into a VERY strong groove. I’m honestly really shocked with how many dance music and electronic elements The Horrors are bringing in. But honestly, it really seems right, like it’s something that they should have done years ago. I absolutely love frontman Faris Badwan’s very shy and quite a performance on this one as the rest of the band lumbers on slowly But I”m impressed with just how well the band is able to keep this groove and turn it into something hypnotic. There are a TON of, little details here and there that make “Press Enter to Exit” so brilliant. Whether it be Faris’s sort of Gothic performance or that haunting chorus that really sticks with you, this track is a serious standout. Then we have “Machine” which brings in some Industrial sized synths and some more abrasive production. But I think it comes off really well, especially when you bring in these very depressive and Gothic lyrics. Overall, it just makes The Horrors sound stand out so much. There are still plenty of Shoegaze elements to go around which is nice to hear, and gives these tracks the vastness they deserve. But to an extent, I really feel like The Horrors have outgrown that. They’ve become so much more than hazy atmospheres and ghoulish vocals. I love Faris’s very dry but hypnotic performance which seriously sticks with you. Plus, this is just so beefy and strong sounding, I literally can’t get enough of tracks like this. Plus, the sheer chaotic aspect, as well as some of the noisier bits, are so well done. Then we have “Ghost” which is much more atmospheric and somber in tone. And to an extent, I really feel like this works really well with a lot of the more electronic sounds The Horrors are working with. And as far as instrumentals go, I think they’re executed near perfectly. But let’s be honest, this is easily Faris’s more lifeless performance. And while I certainly get what he was going for with this very deadpan performance, I just don’t think it comes off very flattering. As a matter of fact, I’m just so much more interested in these almost Psychedelic instrumentals that sound almost out of the book of Black Angels. And when these instrumentals explode and get even bigger as this track goes on, what a moment that is. I love the shimmering synths and murky production on “Ghost” as well. So no, this track isn’t terrible, I just sort of wish Faris was a little bit more into his performance.
“Point Of No Reply” once again brings us to the drearier side of this album. But this is instantly just so much more captivating. Here, Faris is just as lifeless sounding but it’s executed so much better. Between that and this stellar bass groove, this track is near perfection. I love some of the vocal harmonies on the chorus, which we really don’t get to hear much from The Horrors. Overall, “Point Of No Reply” is a theme for a Gothic Disco. It’s heartbroken, but it’s also got a groove that will make you hit the floor. But lyrically, it’s also so dark and very Gothic-tinged, almost to a point where this comes off a little too real. It’s a stunning tune. This album has gotten really somber really fast, and “Weighed Down” continues down that path. But The Horrors refuse to leave the dance floor. This one is so much slower, so much more forceful. There’s still a groove here, but this is certainly one of the least inviting tracks here. But Faris’s performance is easily one of his most captivating and fierce here. On this one, he sounds like his old self, a dude fascinated by just about every classic Post Punk act. Now, at first, I wasn’t digging a lot of this tune. But I do think The Horrors continue to really be onto something. So yes, “Weight Down” is a little repetitive and not nearly as sharp instrumentally. But overall I still dig what The Horrors are doing so much. “Gathering” however, throws a real curveball ay us. Hearing a guitar this stripped down, this deep into the album is actually pretty damn exciting. In every way, this is a sort of throwback number, with melodic strumming and all that sounds like a 90’s forgotten classic. But that very vast atmosphere and Faris’s seriously twisted performance makes this a Horrors tune. In a big way, this really doesn’t fit this album’s tones at all. But I think it shifts things really nicely. It’s moody and somber, but it never gets too far away from what The Horrors do best. This actually reminds me a little of their early material, where they wanted just so much to be the next Bauhaus. But “Gathering” is done so elegantly, by the time this grand and lush chorus pops in I’m beyond sold. This track is wonderful, and while it doesn’t have the Shoegaze atmosphere or Icy synth grooves, it has plenty to love. But just like that, “World Below” comes along and The Horrors are back to their heaviest sound yet. This is instantly right back in that Industrial direction that I was loving so much earlier, but it’s easily the most intense track they’ve done here so far. The Horrors really went all out with this one, with all sorts of bulky instrumentals and some of Faris’s catchiest vocal melodies that we’ve heard yet. In a lot of ways, this is The Horrors at their most direct. But if this is a sign of what’s to come from The Horrors in the future, sign me up. These grooves are ridiculous, and the gigantic vast atmosphere is to die for. Plus, the chaotic breakdown of a finale is absolutely brilliant. What an awesome change of pace this album is overall for The Horrors.
Then we have “It's A Good Life”, which honest to God sounds like a straight-up SynthPop tune, certainly with some Darkwave vocals as well. But for me, this one is a little too straightforward for my liking. Faris once again just doesn't sound completely invested in this, even though is performance is certainly eerie and twisted. This one just seems a little too much like a blatant rip-off of the music that inspired The Horrors so much, instead of just paying homage to it. There are some really good elements within the production, and I do love the very thick atmosphere. But of all the songs here, especially since so many are so good, this one just doesn’t hit me very hard. I do enjoy the last two minutes or so however when some more of the instrumentals pop in and Faris starts singing with more emotion. Still though, “It’s A Good Life” is a little bit of a down point for me. But the glistening intro to the finale, “Something To Remember Me By” has me reeled right back in quickly. The bass groove that follows may be the most infectious and most danceable of the entire album. In a weird way, I feel like some Two Door Cinema Club fans would be into this. But of course, Faris comes in with his very monotone and dry performance making this a Horrors track. But it’s clear that The Horrors have truly saved the best for last. This is a dance floor anthem for every Goth Kid, and it’s a damn good one. It’s got a slick groove, a gigantic chorus, and a strangely timeless feel. Not to mention, as truly deadpan as Faris sounds within this atmosphere, he sounds right at home between this very flashy and gigantic track.
Rating: 8.2/10
Give A Listen To: “Press Enter To Exit”, “Machine”, “Point of No Reply”, "Something To Remember Me By"
Genre: Shoegaze / Post Punk / Industrial / Synth Pop / Darkwave
If You Dig This, Check Out: LCD Soundsystem - "This Is Happening", The Horrors - "Skying", basically any classic Post Punk / Darkwave album
Overall Thoughts: This is by far the most refreshed and most comfortable The Horrors have sounded in ages. They've obviously always had Synths in their music, but this is the most Electronic album The Horrors have ever made, and it's GOOD. The Horrors take their Gothic vibes and Shoegaze atmospheres right to the dance floor, and that probably shouldn't work, it does. The hooks are catchy, the grooves are ridiculous, and the atmospheres are as starry eyed as ever. But even withing all of this, The Horrors remain themselves writing Goth-tinged songs for a new generation.
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