Some bands simply embrace the darkness; The Horrors were created from it. A sense of the night has accompanied them since their inception, with a gothic aesthetic evident in their 2008 debut, ‘Strange House’. Since then, their signature has been twilight atmospherics, ranging from the intense post-punk nihilism of ‘Primary Colours’ to their most recent album, ‘V’, which was both shiny and ethereal. This indicates that, even with a significant lineup change for the first time in their history, the title of their sixth LP hints at a continuation of their established style. In reality, it is both familiar and different; the experiments with shimmering synthpop that characterized ‘V’ and, to a lesser degree, 2014’s ‘Luminous’ have been put on hold, with ‘Night Life’ emerging as The Horrors’ darkest and, at times, most aggressive work since their earlier albums. This time, when they explore the gloom, they do so with an exciting new focus on industrial sound and structure; ‘Downward Spiral’-era Nine Inch Nails heavily influences the fiery ‘Trial by Fire’, while the album’s electronic centerpiece ‘Lotus Eater’ throb with a dark energy reminiscent of Depeche Mode. Additionally, their contemporaries have made an impact, especially with The Ninth Wave’s Amelia Webb now on keyboards; there’s a hint of that band's anthemic style in ‘More Than Life’. Tying everything together is Faris Badwan’s composed vocal delivery - a stark contrast to the fact that, lyrically, ‘Night Life’ boldly confronts the violence and chaos of the current times. He’s delivered some of the finest writing of his career on this record, where The Horrors are fueled by a new level of intensity.
The collaboration celebrates the tenth anniversary of Marika’s debut album, ‘We Slept At Last’.
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Both a significant advancement in musical maturity and a nod to classic Japanese Breakfast.
An album where The Horrors work late into the night with a fresh intensity.