Sounds for rain.
After eight years without launching a long -lasting album, The Horrs Go back with an album that in its nine Tracks and almost 45 minutes hold the coherence of a solid musical product. Night Life comes from the hand of the producer of Blondshell and a native of Los Angeles, Yves Rothmanalso under the seal Fiction Recordsfamous for editing much of the work of The Cure.
This last reference could not be arbitrary, because in this album Faris Badwan And company link with a dark stamp, perfect to take a walk through the city after those nights on which the storm calm the storm. Also, these are completely accessible, enjoyable sounds that could serve as an introduction for other renowned artists.
The album begins with “Ariel”, Track that plays between pop and darkwave, becoming an ideal piece to open the ears. From this point we can hear the voice of Amelia Kiddnew member of the grouping in the synthesizers. The final part of the song warns us of the progress of Night Lifewhose intentions are to build around electronic rhythms.
We continue with “Silent Sister” “One of my favorites,” that evokes the intros of “Feurio” of Einstürzende Neubautan and of “Eraser” of Nine Inch Nailsmoving later towards the land of Marilyn Manson. In this song, the voice of Badwan It is a bit away from the instruments, until they are more timely during the choir.
“The silence that remains” It turns the post punk thanks to the presence of its bass, although we can also point out its opening notes, between industrialists, full of echo that laments and that come and go with a edge along the subject. There is, in my opinion, an interest in experimenting with the atmosphere and not leaving out completely to the previously mentioned electronic scope, even with a small touch to the New Order.
The tour continues with “Trial by Fire”whose bet returns perceptibly to the style of Manson: Synthesizers permanently accompany the voice, until a time when, as the architect of “Antichrist superstar”more musically direct choirs are proposed. Besides, “The Feelling Is Gone” channels the influence of Witch House, in addition to playing between DEPECHE MODE And the Sophisti Pop, which makes it a song to dance slowly and with your eyes closed.
“Lotus Eater” It returns slightly to pop. This is the longest song of the album, in which the voice is blurred at times (which gives it a nuance Dreamy); In turn, it is a Track with movement and repetitions, in addition to Glitchesnevertheless without becoming monotonous, since the synthesizers provide sound layers that renew energy. The same can be said of the different atmospheric sounds that create their environment.
“More than life” Play again with the post punk, flirting the New Wave and close to the proposal of Talk Talkas well as Pink Turns Blue. The bass continues on this issue with enriching presence, although the true stars are the keyboards that walk between some beauty and acidity. As to “When the Rhythm Breaks”although it raises a break to the previous rhythms, it generates in its short duration some experimental moments.
Night Life culminates with “La Runaway”which seems in part extracted from the 80s, time from which much of the hymns of Gothic Rock dating. The song combines the influence of The Cure With a possible touch of Interpolfusion that, as in the case of others, does not reduce the quality of the album, but, on the contrary, shows us the map of influences and possibilities that The Horrs20 years after their training, revitalizes and adapts to your musical needs.
This record production is perfect for both the nostalgic and for those who seek the balance between a pop proposal and a subtly risky. Its duration is aware of the risks of launching an album that dilates unnecessarily, so it seems to choose to focus on its new member, Amelia Kiddand for combining different facets of the electronic with the post punk, the industrial and the Gothic rock.
