(released on XL recordings 11 July '11)
Despite many a mixed opinion on the Essex five-piece when they first emerged on the scene in their drainpipe jeans and goth-chic glory, anyone who is aware of the band can agree that Faris and co. are chameleons. From their garage goth-rock genesis plastered on their debut 'Strange House' to their widely received follow-up 'Primary Colours' (which fused krautrock, shoegaze and post-punk to great effect), The Horrors have maintained a process of sonic reincarnation - which unsurprisingly continues on their third LP. In fact, 'Skying' is in many ways the antithesis of their roots. In contrast to the five shadowy figures playing organ and abrasive guitar riffs, the band embrace a much wider sonic palette, evident in the album's trippy visual representation.
Much more emphasis is placed on 80's style new-wave synthesisers, which wouldn't sound out of place on The Cure's 'Disintegration'. These establish themselves right from the onset of opener 'Changing the Rain', as a pulsing, almost trip-hop style synth keeps a steady, yet relaxed rhythm (something rather prominent to the album as a whole), aided by Rhys Webb's basslines, which have become much more distinct in the mix this time around.
Joshua Hayward's notable guitar work takes more of a backseat as a result, but his magic can still be heard in a variety of ways (in fact, the album was named after a 20-stage phaser that he constructed himself). At times his guitars are almost intangible from the synthesisers (as in spectacular lead single 'Still Life'), other times his tremolo on 'Dive In' is reminiscent of early shoegaze bands such as Slowdive and My Bloody Valentine. Then there are brief moments of thrashing guitar riffs that escape the synth-heavy concept, as in highlight 'Endless Blue', when a haze of synths and samples dissipate to reveal a heavy attack of guitars that wouldn't sound out of place on some of their earlier work.
Compared to the growls and shrieks of frontman Faris Badwan in his 'Strange House' era, the vocals on this record are much more subdued and breathy in a very understated fashion. Traces of his recent side-project Cat's Eyes permeate into tracks such as 'You Said', where he dispels any prior criticisms of sub-par vocal ability, and channels Ian McCullock style delivery. In fact, it's the vocals on this track as he sings 'you've gotta give me love' which quite possibly make 'You Said' the first ever positively uplifting track from The Horrors - Faris even 'lalala's' on 'I Can See Through You', surely a first.
The subtle use of brass samples throughout the record add further texture to 'Skying's array of layers, and all examples are used in a creative way that only serves to improve it, and never become self-indulgent, such as in the prelude of 'Endless Blue', or the interlude-style track 'Wild Eyes'.
Then there are the two mammoth tracks that characterise the latter half of the album. Centrepiece 'Moving Further Away' achieves more sonically in one track than some bands could in their career. At over eight minutes in length it meanders through smooth New Order-like synth-rock and krautrock basslines, before the sound of birds(?) signals the emergence of an immediate post-punk guitar riff. Album closer 'Oceans Burning' doesn't provoke the same effect, but neither brings the album down. The two tracks contribute to the overall album length of almost fifty-four minutes, though 'Skying' never feels like a musical trudge, much to the band's credit.
Indeed, it is admirable that a Mercury Prize nominated band are courageous enough to change direction, being a 'jack-of-all-trades' style outfit does have it's disadvantages. When a band is good at so many things, one wonders if they can truly be great at one particular genre? It would be interesting to see them stick to one, and this time win the Mercury Prize; though with 'Skying', they might have secured that already.
★★★★★★★★
(Download: 'Still Life', 'Endless Blue', 'You Said')
(watch the beautiful video for single 'Still Life' here)
