The Horrors have talked a lot recently about the perceived failures of their last album ‘Luminous’, a meticulously crafted and expansive sounding record that was absolutely hollow in the middle. ‘V’ is here to atone for its sins. They haven’t made the same mistakes, they promise. Where that album was slaved over, ‘V’ was largely the result of spontaneity. Where that album saw the band bend to people’s whims, ‘V’ is resolutely uncompromising. Where half baked ideas were given too much credence on ‘Luminous’, on ‘V’ only the very best will do. They’ve talked of it being a new chapter, whilst also loosely comparing its feeling to early singles like ‘Sheena is a Parisite’, promising that those neglected ‘Strange House’ era songs will find a new home on upcoming set lists, alongside new material.
Regrettably, at first flush, none of the above is actually borne out by the music. A couple of minutes in to the plodding opener ‘Hologram’ you start to get an overpowering sense of deja-vu. You see, the main problem with ‘Luminous’ wasn’t any of the things identified by the band – it was the lack of danger. ‘Strange House’ and ‘Primary Colours’ (and to a lesser extent ‘Skying’) were packed with violent guitar attacks, savage melodies and an unstoppable forward momentum. Faris was always on the verge of a full blown meltdown and you never quite felt sure which direction he would wade in next. The lush and layered ‘Luminous’ was simply too safe.
‘V’ is marginally better but not because it addresses that fundamental flaw. The melodies are generally that bit sharper, and in lead single ‘Something to Remember Me By’ it contains one genuinely great song (which is one more than ‘Luminous’ had). And the sound of the album is superficially more unpredictable, at least. Each song is crammed full of malfunctioning electronics and collapsing surfaces, giving the whole album a discomforting, dystopian vibe. But perhaps because of this, it’s pretty difficult to feel a connection with anything Faris is singing. Key tracks on ‘Primary Colours’, not to mention his beautiful contributions to Cats Eyes records, proved that he has a sensitive side and is capable of indulging it; but nothing on ‘V’ leaves any significant emotional dent. He continues to embrace his inner Choir boy with his considered vocals, but fails to connect with the material. Like the music, his singing is superficially stunning, but almost totally heartless.
With a lack of danger compounded by an absence of emotion, you might be left questioning if ‘V’ is worth figuring with at all. But on a purely sonic level, it’s full of rewarding experimentation. The aforementioned ‘Something to Remember Me By’ glistens under a mild techno production and is packed with endearing nods to New Order. The heavy, industrial tone of ‘Machine’ and ‘World Below’ feels genuinely new for the band, undercutting the polished, shimmering surfaces found elsewhere on the record. The opening track, ‘Hologram’, lethargic as it may be, is proper fuzzy bass, stadium synth territory; somewhere between Depeche Mode and, dare I say, Muse. Producer Paul Epworth, now largely known for his work with pop acts like Adele but once the man behind the boards for Maximo Park, The Futureheads and Babyshambles, executes the band’s vision pretty perfectly. It’s polished and poppy but with a weird, somewhat grotty underbelly.
One thankful improvement on their last record is that guitarist Josh Hayward, neutered on the slick ‘Lumious’, is featured more prominently. His recognisably ugly shredding style, that makes hard work of even most simple notes, adds dark grit to the likes of lurching highlight ‘Machine’ and ‘Press Enter to Exit’. His style is certainly preferable to the sexless, stodgy work of the rhythm section who, for all its vinyl collection credentials, never seem to have discovered the funk section of a record store.
While ‘V’ doesn’t match up to The Horrors first three albums, or herald a brave new direction, it does to some extent get right what ‘Lumious’ failed to achieve – it’s bright, dense and synthetic but with something closer to the unpredictability that The Horrors are known for. Thus, hopefully, it should close this chapter of the band’s history, leaving them free to get back to the business of ferociously and wholeheartedly clawing their way through unexplored genres.
6.5/10