The Horrors//Luminous

Primary Colours was an album that was great; Skying was an album that was great in concept, pleasantly okay in execution. It wasn’t bad, but it was enough for me to not harbour even remotely the same interest that I had for its release upon the arrival of its follow-up, Luminous. That my expectations were so lowered meant that my shock when Luminous finally roared into action (it only takes 3 minutes for something to actually happen) was all the more amplified. Luminous is the album that Skying should have been. It’s an explosive blend of their classic 80s New Wave influences and Primary Colours jagged blend of shoegaze; it’s propulsive, sweeping and musically lush.

That slow opening to Chasing Shadows is in some ways reminiscent of Mirror’s Image, the opener from Primary Colours, sharing that same shock and awe power, but perhaps drawn out a bit too much. It’s a complaint that runs through the album, a hangover from the excess of Skying that leaves most tracks running longer than their ideas have gas for. What’s most galling is that, among the particularly meaty songs, most of them actually stand up. It’s the others, the high-class filler of Luminous (see ‘Change Your Mind’), that you feel things get stretched.

Similarly, Faris Badwan/Rotter(is he still called that, or have they ditched the horror name schtick?) remains an at times unconvincing New Romanticist. His voice, much more suited to the low-key, half sung half spoken bass intonations of the likes of ”Who Can Say”, lacks the requisite power and range to fully pull off the operatics he imitates. The husky mix of the two he incorporates on Luminous works well sometimes, less so on other tracks. It’s an interesting voice, even if part of that is because the flaws are so evident. That it is somewhat drowned out amid the wash of noise that is Luminous is both a positive and a negative – it indicates how grand and anthemic the music is that the lead vocalist can barely keep up, but it also feels like it could become something to really raise the roof with more powerful vocals.

Still, the music is what’s really important, anyway. Where Luminous succeeds most is in its return of the bass to the forefront of the action; on Skying, and at times on Primary Colours, it felt pushed down, as if the band were unaware that it was the driving heart of all their best songs. Here, on songs like single ‘So Now You Know’ and follow up ‘In and Out of Sight’, it’s bounces along, tying everything together in a dance, almost trance-esque groove. These almost dance elements are perhaps what really seperates the album from Skying, and indicates that it can stand alone as a real development for the band. The album is at times reminiscent of an extended version of My Blood Valentine’s pioneering, shoegaze meets dance, album closer ‘Soon’; but injected with the requisite 80s glitter and sheen to keep it interesting across an hour.

Indeed, the combination is so magnetic that, were it not so damn long, Luminous could arguably stand as their best work. As is, it lacks the real standouts that Primary Colours could call upon to cover up the gaps. Still, it’s undoubtedly their most polished work, and arguably their most replayable. The sheer depth to the tracks is astonishing, each seemingly buried under a sea of synths, guitar and any other kind of noise imaginable. You could complain that it’s too similar to Skying, but the manner it which it achieves so masterfully what that album only hinted at blows those claims out of the water.


Chasing Shadows, So Now You Know, I See You

Sharon Van Etten//Are We There & Lana Del Rey//Ultraviolence

I’m gonna try something crazy here and stage the unimaginable – a double review. See, the problem is, I want to review both the new Lana Del Rey album and the new Sharon Van Etten album, but they’re pretty much the same. They’re both completely miserable women being completely miserable amidst a flood of guitars and atmospheric sounding filler. They’re both pretty good, but I couldn’t review one without comparing it to the other. So instead this is happening. These two New Yorkers might seem worlds apart – Del Rey, the chart-topping star who cashed in on her sadness with splash Born to Die; Van Etten, a gloomy indie songstress releasing her fourth album – but musically they’re bound by the same principles of downbeat soulfulness with a poppy, rocky edge.

Del Rey recruited Dan Auerbach (he of Black Keys and petty disputes with Jack White fame) to lend a hand on Ultraviolence and his presence is everywhere. His production creates a more focused, more carefully curated atmosphere, and his guitar lends a steel and vibrancy to energise her wails of sadness. The album is propelled by sharp licks like that that kicks off Cruel World, and the album is really a move away from her more poppy roots. It also, mercifully, ditches the ‘gangsta’ element of Del Rey’s ‘gangsta Nancy Sinatra’ stylings. Del Rey seems to have learned what sort of artist she is onUltraviolence; one who works best when her soul pouring is reserved, soulful and classy, as on Shades of Cool. As such, her vocals are deployed much more effectively, with timed bursts of her range to inject some emotion and some scale to her sound.LANA

Van Etten, by contrast, already knows what she is. Her voice isn’t as ‘pretty’ as Del Rey’s is, but it works well with her sound. She’s less soulful, and less enigmatic in her relentless misery, but she trades that for an edge drawn from the likes of PJ Harvey – as seen on album highlight Your Love is Killing Mewhere she bellows “Break my legs so I won’t walk to you/ Cut my tongue so I can’t talk to you/ Burn my skin so I can’t feel you/ Stab my eyes so I can’t see” (that’s some proper ultraviolence). Van Etten is simultaneously more reserved and mournful than Del Rey, but also more punchy. Are We There Yetis driven by the same kind of fuzzy, almost bluesy guitar licks, but also by the distant rumble of drums and the plaintive tapping of a piano.

It’s sparse but effective, and Van Etten is more of a rural, empty kind of music to Del Rey’s low-lit, basement bar soul. The differences can probably be communicated on album covers alone. Are We There Yet is a black and white shot of a head out a car window as a rural scene rushes past; Ultraviolence is a black and white photo of Del Rey looking like a classical movie star with her guard down.

Del Rey looks classy but miserable and this extends to her album. She harmonises with grace around strings and carefully layered waves of ambient filler, creating a much more full, lush sound than Van Etten. Her harmonies also work better, largely due to the fact she simply has a better voice. That’s not to say Van Etten’s harmonies are bad, but they’re more mixed. On Break Me they’re essentially all that’s off with a great track, but immediately afterwards, on Nothing Will Change, they pretty much make it. Del Rey’s work on the title track outshines both, but lacks the grounding of Van Etten’s unaffected vocals.

Lyrically they remain difficult to discern. Del Rey is more urban, and more liable to lapse into cliché, but lyrically Ultraviolence is a marked improvement over Born to Die. She introduces a greater sense of narrative to her songs, as on album closer The Other Woman, and pulls off her admittedly limited repertoire of sad, abusive love songs without growing too tiresome. The attempts at a soulful mystique – “He used to call me poison/Like I was poison ivy” – are somewhat trite and don’t really work when the next line is “I could have died right there / ‘cause he was right beside me”.SHARON

Van Etten is less grounded in conventional tropes of tragic love, and her lyrics are more evocative in their rawness and simplicity. Were it not so melodramatic Are We There Yet could almost sound earnest, but it is nonetheless more confident and more obviously personal than Del Rey’s ‘I’m sad, I’m crazy, I’m in love, he’s a bit of a shit’ schtick. Van Etten’s also perhaps less relentless in her wallowing, if only because the album ends with laughing at an outtake, something that’s unimaginable in Del Rey’s super serious, super slick production. In fact, by the album’s end I was sure that Del Rey was someone who I never wanted to have a conversation with. Van Etten at least seems like she has a sense of humour.

Both albums suffer in terms of pacing due to their fascination with the blues, and particularly slow down in their latter half. Ultraviolence begins brilliantly, whipping off three of the best tracks off the album in short order, but by Old Money (perhaps even earlier, maybe Pretty When You Cry) its grasp on your attention has loosened considerably. Perhaps it’s the similarity of the songs. Del Rey has more range to her voice, but less to her sound. Van Etten mixes things up, as on the poppy Our Love, but Ultraviolence’s formula is so clear cut that the songs blend into one, leaving you only really able to remember whatever you heard last.

Both artists push track lengths, particularly Van Etten, and this causes Are We There Yet to become more of an effort to persevere with than the more accessible Ultraviolence. Around Tarifa the album loses itself, recovering for Break Me and then wandering off again for the last two tracks. And at over 50 minutes both albums are overlong for how uniform their themes and sounds are.

Worlds have collided in this review, but the result is two albums that nail their gloom with style. Del Rey’s class and accessibility perhaps pip Van Etten’s crunch and personality, but only just. After the wicked backlash to Born to Die and Del Rey’s pretty terrible contributions to the already terrible Great Gatsby, I had doubts about Del Rey as an artist. There was the odd track I liked, but much to dislike. Here she wins me over at last. Van Etten? Well, I hadn’t heard of her, to be honest. Are We There Yet has caught my attention, though, which I’m sure will make her feel much less miserable.


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