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Alternative & Indie - Released July 12, 2011 | XL Recordings

Distinctions 3F de Télérama - Album du mois de Tsugi - Sélection Les Inrocks - Disque Roi VoxPop
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Alternative & Indie - Released May 5, 2009 | XL Recordings

Distinctions Mercury Prize Selection
A four-on-the-floor beat with a wash of synths isn't exactly the expected way for a Horrors album to begin, but that's exactly how "Mirror's Image" kicks off Primary Colours, which is such a big departure from the band's debut, Strange House, that it's fitting it's on a different label. Though Strange House's final tracks suggested that the band was looking for ways to expand on its resurrection of freakbeat and garage rock, very little suggested that its next album would be the triple point where goth, post-punk, and shoegaze met. This time out, Faris Badwan sings more than he screams, Spider Webb's keyboards sparkle rather than stab, and the guitars bend and blur instead of slamming out power chords (Primary Colours' out-of-focus cover photo even upholds the rule that shoegaze-inspired albums have to have hazy artwork to match the sounds within). Even their attitude is completely different: rather than dismissing an ex by snarling "She was the new thing," Badwan sighs, "I know you're better off this way." Then again, the Horrors always seemed artier and more ambitious than a lot of garage rock-inspired bands, from their cartoon-goth look to collaborating with visionary director Chris Cunningham. Now, Cunningham acts as one of Primary Colours' co-producers, along with Portishead's Geoff Barrow; having masters of sophisticated spookiness like these in their corner helps the Horrors make such a drastic change to their sound convincing. While Strange House's sound was fun and distinctive -- and that campy glee is occasionally missed here -- it might have also been limiting, something that can't be said of the band's experiments with these songs. The album's epic lead single, "Sea Within a Sea," is also its most stunning track, traveling through a motorik beat, taut keyboards, and massive guitar drones that suggest whale cries before it opens into a sparkling, arpeggiated coda. Several other songs are nearly as exciting, even -- or maybe especially -- when they keep some of the pop structures from the Horrors' previous incarnation. The excellent "Three Decades" sounds a little like a song from Strange House being played underwater, with busy drums the only constant as everything else billows and blows around them. "Who Can Say" pays homage to the band's enduring Joe Meek fetish with "Telstar"-like synth tones, and to their fondness for '60s pop in general with a spoken word bridge that puts the lyrics from Jay & the Americans' "She Cried" to a Phil Spector-inspired boom-boom-boom-crash! beat. This mix of '60s meets '90s sounds fresher than the moments where the Horrors try to re-create the shoegaze sound more faithfully, as on the title track and "Do You Remember," both of which sound, for better or worse, like the work of one of the many forgotten bands that popped up after Loveless was released. Their forays into post-punk (or maybe post-post-punk) are also mixed: "I Only Think of You" doesn't quite live up to its seven-minute length, but "Scarlet Fields," which sounds like Kevin Shields guesting on an Interpol song, is one of the album's highlights. The Horrors fare better when they bare their teeth on the violent, hypnotic "New Ice Age" and "I Can't Control Myself," a piece of strung-out dream blues that gives Spiritualized a run for their money. As bold and listenable as it is, Primary Colours is occasionally scattered, giving the impression that the band is trying on different sounds for size -- although the fact that most of it works so well is actually more surprising than how different it is from their earlier work. At its best, it shows that the Horrors can do far more than what anyone expected from them. © Heather Phares /TiVo
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Alternative & Indie - Released September 22, 2017 | Wolf Tone

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With Luminous, no-one could have accused The Horrors of resting on their laurels. Each album from the Southend group takes the breath away by its self-reinvention - more than can be said for many bands. With this fourth work that came out in 2014, the Brits cooked up a record which managed to be homogeneous in spite of all the styles it lifts: from psychedelia, new wave, shoegaze, goth, krautrock and even electro. Three years later, V preserves this eclecticism, driving it onward into more poppy terrain. Because, twelve years after their birth, The Horrors are hungry! Now done with the underground's chiaroscuro, Faris Badwan and his bandmates want to taste stadium-level fame and see the top of the charts. But where the fifth album succeeds is in its ability to play the commercial card, all the while maintaining its identity. So The Horrors are not selling their soul to the devil, but rather in refining its choruses and melodies, rounding off certain angular guitars and putting the accent on their music's groovy potential, with the result of a record that at times evokes Bowie. People who do labels will talk about a mature album. Everyone else will just talk about a perfectly-mastered rock record. © MD/Qobuz
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Alternative & Indie - Released May 5, 2014 | XL Recordings

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Alternative & Indie - Released March 12, 2021 | Virgin Music UK LAS (License Internal)

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"The Horrors have released their heaviest material to date on this unhinged EP. Badwan’s vocals are nasty and coarse..." © TiVo
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Alternative & Indie - Released December 4, 2012 | XL Recordings

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Alternative & Indie - Released September 22, 2017 | Wolf Tone

With Luminous, no-one could have accused The Horrors of resting on their laurels. Each album from the Southend group takes the breath away by its self-reinvention - more than can be said for many bands. With this fourth work that came out in 2014, the Brits cooked up a record which managed to be homogeneous in spite of all the styles it lifts: from psychedelia, new wave, shoegaze, goth, krautrock and even electro. Three years later, V preserves this eclecticism, driving it onward into more poppy terrain. Because, twelve years after their birth, The Horrors are hungry! Now done with the underground's chiaroscuro, Faris Badwan and his bandmates want to taste stadium-level fame and see the top of the charts. But where the fifth album succeeds is in its ability to play the commercial card, all the while maintaining its identity. So The Horrors are not selling their soul to the devil, but rather in refining its choruses and melodies, rounding off certain angular guitars and putting the accent on their music's groovy potential, with the result of a record that at times evokes Bowie. People who do labels will talk about a mature album. Everyone else will just talk about a perfectly-mastered rock record. © MD/Qobuz
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Alternative & Indie - Released February 23, 2021 | Virgin Music UK LAS (License Internal)

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"The Horrors have released their heaviest material to date on this unhinged EP. Badwan’s vocals are nasty and coarse..." © TiVo
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Alternative & Indie - Released January 1, 2007 | Polydor Associated Labels

On their singles and EPs, the Horrors proved they'd done their post-punk and freakbeat homework. With their debut album, Strange House, they push their sound forward, distill it to its rawest essence, and give it a few funhouse mirror twists and turns for good measure. Almost half of the songs on the album already appeared on previous Horrors releases, but the ever-so-slightly cleaner production here gives more definition to their black-on-black sound. The band kicks off Strange House by revisiting their cover of Screaming Lord Sutch's "Jack the Ripper," which begins at a zombie-slow pace, then suddenly speeds up halfway through, transforming into a hurtling roller coaster of a song that makes a great introduction to Strange House's mix of campy humor, energy, and menace. With its dive-bombing noise barely held together by Faris Badwan's shouting and the faintest hint of a melody, "Sheena Is a Parasite" is still the Horrors' best and most radical song, although several other tracks here rival its black-hearted thrills. Once again, Spider Webb's vicious keyboards are the band's not-so-secret weapon, especially on the fantastic, strutting "She Is the New Thing," which blurs the line between girls and trends, flings and boredom, with macabre flair. On Strange House's wildest tracks, the Horrors channel their idol Joe Meek's love of wild sounds. "Thunderclaps" grafts galloping rhythms, twangy guitars, and chanted backing vocals together, Frankenstein-style, while "Little Victories" brandishes noisy onslaughts and turns them off just as quickly. The very end of the album gets even weirder and more deconstructed: "Gil Sleeping"'s woozy organs and jazzy drumming and "A Train Roars"' ominous, loping rhythms show that the Horrors are committed to pushing the boundaries of their sound, even if these experiments aren't quite as immediate as their more song-based work. The Horrors are unabashedly arty and stylish, but they're a great example of the kind of art-school band that lurks in the shadows of British rock (and of which there have been too few in the 2000s). If you like what the Horrors do, then Strange House is an album that can never be loud enough. © Heather Phares /TiVo
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Alternative & Indie - Released May 2, 2000 | In The Red

Alternative & Indie - Released August 9, 2017 | Wolf Tone

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Electronic - Released August 16, 2019 | Virgin Music UK LAS (P&D)

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Alternative & Indie - Released March 30, 2018 | Wolf Tone

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Alternative & Indie - Released March 12, 2021 | Virgin Music UK LAS (License Internal)

"The Horrors have released their heaviest material to date on this unhinged EP. Badwan’s vocals are nasty and coarse..." © TiVo
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Alternative & Indie - Released May 5, 2014 | XL Recordings

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Alternative & Indie - Released August 2, 2019 | Wolf Tone

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Alternative & Indie - Released August 9, 2019 | Wolf Tone

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Alternative & Indie - Released February 23, 2021 | Virgin Music UK LAS (License Internal)

"The Horrors have released their heaviest material to date on this unhinged EP. Badwan’s vocals are nasty and coarse..." © TiVo
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Alternative & Indie - Released April 15, 2003 | In The Red

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Alternative & Indie - Released August 9, 2019 | Wolf Tone