When The Horrors first tore their way into the public consciousness in 2006 via a provocative choice of cover artists by the NME, their vaudeville shtick was largely dismissed as art-school posturing. Drawing heavily on the filth and the fury of 60s Garage rock, early singles ‘Sheena Is A Parasite’ and ‘Death At The Chapel’ were more akin to the trashy romps of a Freddy Kruger movie than the psychological subversion of Stanley Kubrick one suspects the five piece were aiming for. After suffering the ignominy of being dropped by their record label Loog, when their masterfully hyped debut barely rippled the UK album charts at no.37, the odds were looking heavily stacked towards a rapid return to obscurity. Primary Colours arrives then without the burden of expectations but to merely state that it surpasses the meagre standards of its predecessor entirely does the LP no justice whatsoever.
Somehow whilst lurking in the shadows of derision, The Horrors have sculpted a record that goes some way towards fulfilling the Machiavellian level of ambition they previously have only hinted at. Out are any musical signposts towards The Sonics or Stranglers, in comes an overpowering brooding malevolence gleaned from a diet of My Bloody Valentine, Ride and Jesus And The Mary Chain. The resulting transformation may not exactly amount to the creation of a ‘new-gaze’ movement but it certainly represents a skilful example of early 90s revivalism. Instead of continuing with the diminishing returns of a more visceral ‘shock and awe’ approach, the subtle subversion inherent within Primary Colours’ continuous wall of sound offers a far more unsettling sense of unpredictability.
‘Mirror’s Image’ draws the listener in from the albums outset by slowing sculpting a blanket of melodious synth into a murderous howl of pulsating bass and barely audible guitar lines. Such a level of tactful ferocity continues throughout the first half of the LP, culminating in the histrionic misery of ‘New Ice Age’ which sees Faris Badwan shriek out his melodramatic musings on “THE AGONY” of love lost. Such a role suits Badwan, as within the bands new all encompassing blanket of feedback, his pithy vocals gain an added air of insecurity. Inevitably though, the momentum can’t be maintained and with the onset of ‘I Can Only Think Of You’ The Horrors begin to lapse their new found tautness in favour of sub-MBV wig out territory.
If it weren’t for album closer ‘Sea Within A Sea’, it’s a phase that comes close to undoing the albums earlier achievements. Yet in fine macabre tradition of keeping the best twist for last, their prior focus is put to test over eight minutes, in which one assumes Portishead producer Geoff Barrow has employed every bit of studio magic in the book to slay the bands grisly formula to perfection. Starting on a pounding electronic rhythm, the song writhes around in anguish until finally peak with a coldly euphoric Kraftwerk influenced outro. It’s a fitting end to an album which endears through its bold choice to throw caution to the wind and sink or swim upon an uncompromised vision. The Horrors are back and better than ever. Long may their new found reign of terror continue.
7/10
Primary Colours is released across UK record stores on 4th May
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