The Horrors make new fans with tour


From gothic garb to live shows that left fans battered and reeling, the UK’s The Horrors carved a name for themselves in the music press before they had even an EP to their name. Unlike many groups that crumble from the pressure caused by hype, however, the band rose above the noise and silenced skeptics in 2009 with the release of their Geoff Barrow-produced second record, Primary Colours. Their maturity and hunger for experimentation and self-growth remained evident throughout their next two records, 2011’s Skying and this year’s Luminous.

Though stateside tours for these albums have been limited, this has not slowed the growing fervor over the band. Several hours before The Horrors’ performance at the Mayan Theatre downtown last Wednesday, fans dressed in Peter Pan collars gathered on the pavement outside the venue, hoping for a glance of one of the musicians taking a smoke break or walking to his tour bus.

This kind of attention is something the band has come to expect in their native Great Britain, but their increasingly large presence across the pond has made them somewhat of cult favorites. One won’t hear their singles on the radio in the United States, save for on independent stations such as Seattle’s KEXP or local favorites KCRW, and it isn’t common to see them in American press. Despite this, the Horrors have headlined high-profile venues such as the El Rey Theatre and The Fillmore, which are usually reserved for well-established artists here in the States.

Their brief tour of the West Coast this fall wasn’t intended to be a short stint; the band had a full North American calendar booked for October and November and cancelled much of it due to unforeseen circumstances.

Fans in California came out on top, however, with all four shows in the state remaining scheduled. The group’s first night in the Golden State brought them to the Belly Up Tavern in Solana Beach, a small venue on the water with nautical décor. The lack of a barricade made the show more intimate and intense, as frenzied fans leaned within inches of the band and one even took to the stage to plant a kiss on singer Faris Badwan’s cheek.

The set didn’t rely on any particular record to carry itself; there was an even mixture of cuts from their three most recent albums. No songs from their debut have been played live since 2010, so it came as no surprise to hear that omission. At one point, a hiccup with Badwan’s microphone cord caused it to become snagged on a fan’s neck and a security guard rushed into the audience. Badwan saw this as an opportunity to leap onto the security guard’s shoulders and proceeded to steer him across the floor, much to the delight of the crowd.

It is this unpredictability and enthusiasm that The Horrors have maintained for nearly eight years that keeps them at the forefront of independent music. Not ones to shy away from vocalizing their opinions, members have been outspoken against laziness in popular music and the ease at which bands conform to stereotypes in order to receive more attention at the expense of their artistry. “Never compromise” is a phrase they have tossed around in their press campaigns, and the mantra sticks. Notable sounds on their past two records include wildly distorted guitars courtesy of Joshua Hayward, a University College London physics student-turned audio wiz.

The president of the band’s label, XL Recordings, also commissioned custom synthesizers to be made for the band that resembled ones featured in one of their animated music videos. The distinct uses of instrumentation created a formidable reputation for the band both in the studio and on stage.

Granted, their live performances have mellowed slightly over the years, as reflected in the calmer states of the band members at their larger show in Santa Ana on Tuesday evening. Their lighting design features grids of circular LEDs and a backline of solid gel spotlights that compensate for the sometimes gloomy nature of their music. Choruses of vintage synthesizers, classic post-punk bass lines and wailing guitars echoed throughout the building. This isn’t to say the band doesn’t have a tender side to them — recent set list addition “Change Your Mind” has Badwan singing about a potential love interest with a lulling melody and subdued vocals.

In witnessing a performance by The Horrors, one can better understand the direction modern bands ought to be headed in. The group’s sound may not appeal to people of all ages and cultures, but their dedication to art over their career has made them a beacon of commitment and ideology in an era when the music industry rapidly rejects bands even slightly less determined.