Album Review: Night Life by The Horrors

An enigmatic, unhinged beast of post-industrial glamour, soaked in narcotic dread and the sound of beautiful decay The Horrors – yes, those Horrors, the ones who crawled out of the crypt with Strange House, tore the indie rulebook in half with Primary Colours, and caused some people to fucking levitate with Skying – have returned from the abyss for what feels like the third time. Night Life isn't some victory lap or nostalgia grab – they have tried to do both of those things before, to limited effect. This enigmatic beast is post-industrial glamour soaked in narcotic dread, and the sound of beautiful decay.

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To see their sixth long-player Night Life coming to fruition would rightly come as a surprise to some. The two EPs that preceded the record took their pointers from the industrial sounds of 2017s V - particularly opener, "Machine". Reactions were mixed with the hard-techno-dressed-in-tight-leather-era in the form of Lout and Against The Blade in 2021 - and with side hustles becoming the main focus for band members - it wouldn't have been foolish to assume the band was done.

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The new full-length from English goth-rock outfit, The Horrors, is their first in eight years. That's enough time to change a band and their sound, even if you don't account for the significant lineup changes they've undergone since 2017's V. Gone are founding ​​keyboardist Tom Furse and drummer Joe Spurgeon, and in their place are The Ninth Place's Amelia Kidd and drummer Jordan Cook.

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Since their debut in 2007, The Horrors have always been distinct in their sound. Emerging as a gang of shoegaze goths, their giant wild hair and twinkling indie rock placed them on the periphery of a Camden scene dominated by Libertines wannabes and Arctic Monkeys rip-offs. Sixth studio album 'Night Life' takes them back to the expansive sound of earlier records, 'Primary Colours' and 'Skying', offering a mature sense of reflection.

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Some bands merely adopt the dark; The Horrors were born in it. A sense of the nocturnal has followed them right from the moment they arrived, gothic in both sound and look, with 2008's 'Strange House'. Ever since, twilight atmospherics have been their chief calling card, from the searing post-punk nihilism of 'Primary Colours' through to their last full-length, 'V', which was glittering but gauzy.

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