ALBUM REVIEW: THE HORRORS - SKYING

Back in 2007, when Strange House came out, had you asked most people about The Horrors, they would have shook their heads with disapproval and dismissed the five Southenders as mere jokes. In 2011, you could probably ask the same people and they’d tell you how surprised they are of The Horrors and their growth. For the rest, the ones who stood by the boys from day one, the evolution can only fill our hearts with joy.

As one of this year’s most anticipated albums, Skying was surrounded by murmurs of what stylistic direction will they take and whether will it be as well received and as much of an instant classic as Primary Colours. As Still Life, the first track released off the album showcased, the five were clearly determined to try new areas. A little less of the 70s, a little more of the 80s and even early to mid 90s. Sure, the shoegaze guitars, whiffs of Slowdive and My Bloody Valentine aesthetics are still present, even more so than before. Joshua Hayward’s reverbs last longer, they plunge deeper into the abyss, they wrap themselves tighter around the rest of the instruments.

Mind you, Skying is a definite grower. It takes a few listens to completely see the sheer beauty behind Faris Badwan’s utter abandon and decision to let his voice show this much vulnerability. It’s his vocals that give songs like Wild Eyed and Dive In an otherworldly delicacy and frailty, words maybe hard to associate with The Horrors in the past. But there is still a clear urgency given by the howling keyboards, pounding drums and each chord progression. Guitars swirl on Monica Gems as if this was Bernard Butler on The Drowners, not Hayward, and backing vocals float as if Brett Anderson himself was singing. Endless Blue with its post-grunge riff and Who Can Say-scented organ is perhaps the meeting place of the two previous albums, though with the twist the five Brits love so much, while Moving Further Away and its krautrock hints could easily find their place on Primary Colours.

Clearly, The Horrors are skilled musicians and know how to paint beautiful sceneries, adding layer after layer to create a sort of Impressionist painting. The echoes and lingering acoustics of Oceans Burning, the haunting organ and cinematic feel of You Said or the intertwining guitars and keyboards on I Can See Through You stand as clear proof of this. They have also came a long away since the days when their live sets lasted only 15 minutes and they covered their fans in black paint and feathers. However, while those days are to be held with love in our hearts, they are not to be regretted. For with each chord, note, drumbeat and line on Skying, The Horrors laugh even harder in the faces of those who have dismissed them and show their determination in writing modern classic after modern classic. 

~ Ana Dinescu