Looking for previews and reviews of SXSW 2019? Right this way.

SXSW 2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | Live at Leeds 2016 | 2015 | 2014
Sound City 2015 | 2014 | 2013 | 2012 | Great Escape 2018 | 2015 | 2013 | 2012

Don't forget to like There Goes the Fear on Facebook and follow us on Twitter!

Video of the Moment #2872: The Horrors

 
By on Wednesday, 18th July 2018 at 6:00 pm
 

Late last year, Faris Badwan and The Horrors released their fifth album ‘V’ – get it? You can read Steven’s review of the long player through here. The claustrophobic track ‘Ghost’ from it has been given its own music video. Naturally, it’s as unsettling as the music that soundtracks it. Watch the video for ‘Ghost’ below. ‘V’ from the Horrors is available now on Wolf Tone / Caroline International. Our past articles here on TGTF on the group are through this link.

 

Preview: Live at Leeds 2018

 
By on Tuesday, 19th December 2017 at 11:00 am
 

While on my recent birthday trip to blighty, I visited Leeds and remembered with great fondness my first visit to the city. It was for the 2015 edition of Live at Leeds. Now that after 3 years Liverpool Sound City appears to be in perpetuity as a docklands-focussed event no longer centred on its lovely city, it falls to Live at Leeds to provide the sole Northern festival to celebrate its city’s many music venues.

Next year’s event will take place on Saturday, the 5th of May during the first bank holiday of the month. Here we are, having not even reached Christmas yet, and the event organisers have already announced a wonderful slew of tantalising artists scheduled to appear. Birmingham psych rockers Peace occupy real estate at the top of the event bill, alongside Liverpool’s Circa Waves. The Horrors, who returned this year with ‘V’ (reviewed by Steven here), are also scheduled to appear, as are British Sea Power and LAL 2016 alums Anteros, Blaenavon and Spring King.

Festivals are a great time for musicians to road test new material or continue a campaign in support of a new album. Nick J.D. Hodgson will sound familiar: formerly the drummer and primary songwriter of Kaiser Chiefs, he’ll be performing in his hometown prior to the release of his first solo album. FatCat Records signee KNIGHTSTOWN released his self-titled album this autumn and will no doubt be wowing audience with his atmospheric electronic sounds. Aussie surfer poppers Hockey Dad will be returning to blighty for this 1-day festival: they’ll be releasing a new album, ‘Blend Inn’, in February.

This is just a small smattering of artists who will be performing at this exciting event across Leeds city centre next year. Early bird admission tickets to Live at Leeds 2018 are now sold out, but general admission (£39.60) and VIP (£55.00) tickets are still available. For more information about Live at Leeds 2018, visit the event’s official Web site.

 

Album Review: The Horrors – V

 
By on Monday, 20th November 2017 at 12:00 pm
 

The Horrors V album coverTen years have passed since The Horrors first appeared like gothic misers of their own indie-dom. When you really process this it’s incredible to witness how far they’ve actually come. No band has quite relished in the idea of evolution more than The Horrors.

Take, for instance, opener ‘Hologram’, which introduces the album with pulsating and swirling beats. The futuristic feel that you’ll find completely sweeps over the album is soon joined, in this instance, by jangled guitars, processed far from their natural sound. Frontman Faris Badwan soon joins in the party, with some seemingly heaven-sent vocals that truly embody the choruses repeated call of “are we holograms?” It’s a bright opener that wanders its warming way into seducing you for the rest of the album, particularly aided by the screeching and twinkling solo toward the outro, an aspect that repeats throughout.

Following on, the droning piano that first teases in ‘Press Enter to Exit’ reveals nothing that the actual track contains. Once the first four bars have their say, it breaks into a far more groove-filled romp that carries you with its sway up. Until the chorus, which feels like a contained explosion into a new pop-tastic level. Once again, the bridge breaks down into a far more intelligible chaos that falls away, letting the silence build until exploding once more into a soaring solo.

Earlier single ‘Machine’ greets us with an electronic drum pattern that runs rings around the sonic atmosphere. You can try and comprehend what’s going on but will ultimately fail. There’s an edge to the psychedelic sounds, one that brings a foreboding element that feels live one is being preyed upon. Filled with juddering sounds that oppose the melodic elements, it calls to mind a mechanical beast failing catastrophically. On a similar end of the scale, ‘Ghost’ goes for a more simplistic approach to the mechanical sounds. A slow tempo drum beat brings in Badwan’s singing, while distorted and flickering sounds eventually morph into a guitar line which completes its evolution from sparse wander into full-bodied orchestration.

The eruption of sounds and noise at just over halfway feels apt. It’s as if the album had to be building to something and this is what the first half will always be: an eruption of sparkling sounds that both dazzle and confuse. From here, both ‘Point of No Reply’ and ‘Weighed Down’ break away from the metallic sounds. Instead, the Horrors go in a far more delicately melodic one that relies upon Badwan’s vocals to offset the beautifully sweet electronica elements. ‘Point of No Reply’ eventually leaves as peacefully as it came.

‘Gathering’ is perhaps the most natural sounding The Horrors get on this outing. Acoustic guitar and natural drums, with the occasional psychedelic slide, leaves a much more digestible sound. That is, until ‘World Below’. Kicking things back into a higher gear with a distorted array of crunching guitars and electronica, it’s the beginning of both the final stretch and some of the strongest cuts on the album. The other two that make up this final third flow perfectly. ‘It’s a Good Life’ reverts back to the slow and emotive approach. This builds towards the finale of ‘Something to Remember Me By’, a track that completely lets loose and breaks into dance territory.

The fifth outing from Horrors mostly cements them as creators of their own future. They don’t relish being in the past. In fact, they stray as far away from their previous sounds as possible. No, the Horrors are are here to keep creating and evolving which, in all honesty, makes them one of the more exciting bands currently active.

9/10

‘V’. The Horrors’ fifth album, is out now on Wolf Tone / Caroline International. Our past articles here in TGTF are through this link.

 

Video of the Moment #2403: The Horrors

 
By on Tuesday, 18th July 2017 at 6:00 pm
 

It’s been a few years since we heard from The Horrors. The garage rock band led by Faris Badwan hasn’t released a new album since 2014’s ‘Luminous’, which I mostly recall from its pretty awful-looking promotional displays down Oxford Street whilst riding in a double-decker bus. A brand new album from the gothic-loving group is expected in September. In mid-June, they unleashed the first taster of the LP, ‘Machine’. Now, about a month later, there’s a promo video to go with the single. Going well with their dark sound, director Jon Emmony worked tirelessly on computer visuals for a continuous stream of unsettling visuals. Watch the video for ‘Machine’ below. The Horrors’ fifth album ‘V’ will drop on the 22nd of September on Wolftone / Caroline International. Catch up on our past, pretty old archive of articles on The Horrors through here.

[youtube]https://www.youtube.com/watch?v=N9NxsuAV7EA[/youtube]

 

The BBC at Glastonbury 2014 (Sunday): The Horrors playing ‘So Now You Know’ at the Other Stage

 
By on Monday, 30th June 2014 at 8:00 pm
 

Wherever you were this weekend, whether you were at Worthy Farm or not, us here at TGTF have you covered when it comes to Glastonbury 2014. The dedicated people they are, the folks at the BBC have been working all hours during the festival and feeding us live coverage as it becomes available. What does this mean for you? We’ll be passing along all the best bits to you, our faithful readers.

The Horrors released their fourth album ‘Luminous’ in May and here’s a live cut from the album from Glastonbury 2014. Performing Sunday at the Other Stage, during ‘So Now You Know’ Faris Badwan sounds under the weather (unless his voice has morphed since their last album) but otherwise it’s a passable performance. Watch it below.

For more of the BBC’s Glastonbury coverage online, head this way. Stay tuned for more videos from Glasto 2014 right here on TGTF.

[youtube]http://www.youtube.com/watch?v=SB6Dcjz9rRE[/youtube]

 

Album Review: The Horrors – Luminous

 
By on Tuesday, 29th April 2014 at 12:00 pm
 

When NME were gushing all over these boys The Horrors in 2007, telling us they were the second coming of the Smiths but with really gash, bouffant haircuts, I was about as opposed to them as, say, a Liverpool fan to the sight of Chelsea’s Thomas Kalas heading another cross away. But when they returned 2 years later the fanfare was still there, but with the tunes to back it. ‘Primary Colours’ and ‘Skying’ were triumphs of a band still finding their feet – still honing their sound, but still a group walking on the right path.

‘Luminous’ isn’t their masterpiece yet, but they’re certainly building to some kind of dayglo spectacle. That’s not to say ‘Luminous’ isn’t a thoroughly enjoyable listen from start to finish – it most certainly is. From the twinkling opener ‘Chasing Shadows’ to the roaring ‘Sleepwalk’, we’re treated to a soaring journey through Faris Badwan and co.’s psyche.

The glowing synths on ‘Sleepwalk’ and ‘So Now You Know’ (reviewed by Ben here) are spellbinding at times, whilst the ebbing and flowing intro to ‘Chasing Shadows’ before it morphs into a chugging indie rock beast brings you perfectly into the mood for the record. It’s almost a full 4 minutes before we get the pleasure of Badwan’s gently sung lyrics. The band’s ‘90s inspiration cuts straight through ‘Luminous’, and Joshua Hayward makes the most of this by utilising as many Marr-esque riffs as you can squeeze into a 10-song album. In fact, on ‘First Day Of Spring’, it’s difficult to distinguish whether the chords aren’t just lifted from ‘How Soon Is Now?’

The Horrors are at their shimmering best on ‘So Now You Know’, the jutting bobbling synths over scoring the number as Hayward’s chords ring out. The hook is infectious to the point I’ve found myself humming it like an insane person everywhere I go. In contrast, ‘In And Out Of Sight’ is probably the weakest point in the record: it sounds far too busy, and Badwan’s vocals are almost drowned out in the messy, synthy chaos.

Despite that, ‘Luminous’ is a thoroughly enjoyable listen throughout. It’s a dancier, but just as broody album, comparatively to the previous two efforts. But it’s the musings of a band on the right direction, going the same way as the Bombay Bicycle Clubs of this world.

The Horrors’ gothic take on indie rock is as it has been since 2009 – refreshingly gritty and a pleasure for the ears.

8/10

‘Luminous’, the new album from the Horrors, is out next Monday, the 5th of May, on XL Recordings.

 
 
 

About Us

There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF is edited by Mary Chang, who is based in Washington, DC. She is joined by writers in England, America and Ireland. It began as a UK music blog by Phil Singer in 2005.

All MP3s are posted with the permission of the artists or their representatives and are for sampling only. Like the music? Buy it.

RSS Feed   RSS Feed  

Learn More About Us