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One of the more interesting musical developments in recent memory was The Horrors' transformation from a hopeless mess of hair to the machine that produced the sporadically brilliant future shoegaze of 'Primary Colours'. This, surely their most anticipated album, opens in worrying style with the Psychedelic Furs-meets-Northside baggy lollop of 'Changing the Rain'. The limp, baggy beats persist on 'You Said' which sounds like a depressed Ian McCulloch fronting Candy Flip. 'I Can See Through You' finally ups the pace but there is no real no song beneath the effects and the production is horrible and tinny. To their credit The Horrors at least try to move on after every album but really this is a poor attempt from a band who have proven that they can do a lot better. 'Endless Blue' is drifting nowhere with pointless horns when it suddenly shifts gears into something a little more substantial but marred by terrible drum sound and production that is somehow both muddy and over-compressed at the same time. By the time the forgettable 'Dive In' mumbles its way into focus I've pretty much had enough. I already know that the single 'Still Life' is a plodding catastrophe of a song; a sort of U2-aping flounder, complete with a synth line that Duran Duran would reject for being too 'Flock of Seagulls'. A terrible record, unfortunately, and surely a mistake to let the band produce their own record. The success of 'Primary Colours' now looks that it might have been substantially down to Geoff Barrow's knowing hand on the controls.
8/10 Evan Customer review, 18th July 2013
Clinton, Clinton, Clinty, Clintster, when you wrote your review of this album you must have been going through a tricky Cyrus Virus or bed bound with Bieber Fever. This album really is music chiseled from imagination, formed by ideas and done so to perfection. These guys just know when an instrument should kick-in to trigger something in the brain that just thinks, "This is what it's all about'.
'Endless Blue' could easily be endless; building, subsiding, again and again and then ripping it up. 'I Can See Through You', a psych party piece, swirling around, 'Moving Further Away' shakes into existence before a crackin' synth comes in and it just grows from there.
The lead single 'Still Life' is what it's all about however. Every note is just so precise, from the slurping opening guitar to the flowing synth, in comes Faris Badwan's no-flash, sinister voice and then you're in that wave of a chorus, swirling into a vortex of synth, guitar, drum, vocal meld which is perfect, seamless. When Faris says 'The sky clears, the sun hits', soft synths caress the lyrics and if you aren't looking at the clearing sky of your mind at that moment, with the sun beaming through, you have no soul my friend. No soul. That's without even mentioning the chorus of trumpets at the end. Joy.
So Clint, Clintzilaa, Clinton, I appreciate different views but 'Still Life' alone is the best psych single of the decade, even better than Tame Impala, and I'm a raging Tame fan. 'Still Life' alone ensures this album is no less than a 7/10, the rest of the music is just showing off.
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