Against the odds, the Horrors’ fifth album is their best yet, with Faris Badwan’s commanding, world-weary vocals adding to the synthesised thrills and sparkling guitar-pop
Let us briefly take a detour down memory lane. It is 2007 and, as a contestant on the most recent series of Big Brother has so eloquently put it, “there’s a new music that’s taking over our country and it’s called … ‘indie’”. The Pigeon Detectives bestride the Top 20. The second Razorlight album has just been certified five times platinum. The pages of the Observer play host to a feature that wonders aloud how Bloc Party will cope with being propelled to superstardom as a result of their new album: “A zeitgeist-defining record that rips up the rock rulebook.”
Strange days indeed, but imagine the consternation you could cause were you able to offer everyone a glimpse into the future, a world 10 years hence where Razorlight are headlining not Reading and Leeds but a VW campervan convention in Llangollen; where the lead singer of the Kaiser Chiefs is now best-known as a judge on a talent show, and where the frontman of the Arctic Monkeys has left Yorkshire, changed his accent and now favours the world not with gritty vignettes of provincial Britain, but updates from the frontline of life as a swashbuckling multi-millionaire cocksman, rampant amid the sun-bronzed lovelies of Hollywood.
Related: The Horrors review – eldritch rockers signal move into the big leagues
Continue reading...by Alexis Petridis via Electronic music | The Guardian
No comments:
Post a Comment