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The Horrors
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The Horrors
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The Horrors are an English rock band formed in Southend-on-Sea in 2005 by lead vocalist Faris Badwan, guitarist Joshua Hayward, keyboardist and synthesizer player Tom Furse,[1] bassist Rhys Webb, and drummer and percussionist Joe Spurgeon.[2] Their music has been classified as garage rock, garage punk, gothic rock, shoegaze and post-punk revival.[3][4][5]

Key Information

The band's current lineup includes all of the founding members bar Furse and Spurgeon, who have been inactive performing live since 2021 and 2024, respectively. In early October 2024, it was announced that the band were now joined by Amelia Kidd (of the Ninth Wave) on keyboards and backing vocals, as well as Jordan Cook (of Telegram) on drums.[6]

The band have released six studio albums: Strange House (2007), Primary Colours (2009), Skying (2011), Luminous (2014) and V (2017) - all of which charted within the UK Top 40[7] - and Night Life (2025).

History

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Origins (2005–2006)

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In the early 2000s, the Horrors coalesced around shared interests in obscure vinyl and DJing. During trips to London and on the Southend circuit, Webb met Badwan (formerly of the Rotters[8]) and Furse through their mutual interest in 1960s garage rock as well as post-punk bands such as the Birthday Party and Bauhaus.

In 2005, the three formed a band with Hayward and Spurgeon. The band was centred around Junk (nightclub), an underground club founded by Webb and Oliver Abbott.[9] Their first rehearsal consisted of two covers: the Sonics' "The Witch" and Screaming Lord Sutch's "Jack the Ripper" (interpreted in the tradition of previous garage covers such as those by the Fuzztones, One-Way Streets and the Gruesomes). The latter rendition was later rerecorded as the opening track of their debut album, Strange House.[10] The Horrors made their first live performance at The Spread Eagle on Kingsland Road in London on 16 August 2005.

The Horrors drew the attention of critics and the public with their debut single, "Sheena Is a Parasite". Their second release, "Death at the Chapel", a high-profile show at London's 100 Club in July 2006, and an appearance on the cover of NME that August greatly increased their profile. The band played the NME Awards Indie Rock Tour in early 2007 along with Mumm-Ra, the View and the Automatic, which helped garner further fame.

Strange House (2007–2008)

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The Horrors in 2007

After the release of Strange House in March 2007, the Horrors embarked on an 18-month promotional world tour.[4] A slot supporting Black Rebel Motorcycle Club in the United States in summer 2007 was cancelled because of lack of funds,[11] but the band instead headlined a US tour that June. They made a number of festival appearances throughout 2007, including the Glastonbury Festival, the Carling Weekend (on the Radio 1/NME stage), various Scandinavian festivals, the Summer Sonic Festival in Japan and Splendour in the Grass in Australia. Their setlists throughout that summer included a cover of "No Love Lost" by Joy Division. In December 2007, they featured in the All Tomorrows Parties festival curated by Geoff Barrow of Portishead.[4] The Horrors also appeared in the third series of The Mighty Boosh in December as the fictional band "the Black Tubes", and supported the Arctic Monkeys on their short sellout tour of the UK, receiving a mixed reception. The band played an NME Awards show in 2008 with Crystal Castles, Ulterior and These New Puritans, and supported the Sonics on 23 March. Another London show followed at Bethnal Green's Rich Mix Cultural Foundation on 23 May of the following year. On 18 January 2008, Counting in Fives, a documentary of the band's 2007 US tour, was unveiled at the Sundance Film Festival.[12]

Eventually, Strange House reached No. 37 on the UK Albums Chart. Following the "She Is the New Thing" single release in June 2007, the band recorded a cover of Suicide's "Shadazz" for Blast First Petite as part of their tribute to Alan Vega in October 2008, their only release before their new material in 2009.

Primary Colours (2009–2010)

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At the end of 2007, the Horrors announced the forthcoming recording of a new album, which was produced by the band, Craig Silvey, Barrow and music video director Chris Cunningham.[13] Recording took place in Bath during the summer of 2008. Barrow's influence brought the use of keyboards and electronics. The band were forced to pull out of their planned appearance at the Underage Festival due to recording schedule conflicts. After they left Loog Records in 2007, the band signed to XL Recordings.

A number of songs from the new album were leaked a few weeks before the album's release. The album's first single, "Sea Within a Sea", was released only as a digital download on 17 March 2009, together with a music video directed by Douglas Hart which was posted on the band's website on the same day. Their second album, Primary Colours, was officially released on 4 May 2009 to critical acclaim, and reached No. 25 on the UK Albums Chart.[4] The single "Who Can Say" was released on 7" vinyl one week later.

Primary Colours was nominated for the 2009 Mercury Prize. NME later awarded the album first place in the 50 Best Albums of 2009.[14] After headlining London's Offset Festival and touring for Primary Colours, the Horrors indicated a desire to build their own studio to record at obscure hours.

Skying (2011–2012)

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In April 2010, singer Badwan announced on the band's official forum that the Horrors had already started working on their third album, to be called Skying, and had been in the studio for some months. A track from the album, "Endless Blue", was first unveiled at the Latitude Festival in July 2010, and later performed at Poland's Off Festival[15] and Belgium's Lokerse Feesten in August 2010. In February 2011, after rumours that the album had been delayed, Badwan announced via the official forum that the album would be released in July. The first single, "Still Life", premiered on 24 May on Zane Lowe's BBC Radio 1 show. The full album was made available for streaming from the band's website[16] on 4 July and officially released on 11 July 2011.

The band were announced as headliners on the Festival Republic Stage at the Reading and Leeds festivals in August 2011.[17][18] They were joined on stage by the Vaccines, whose guitarist is Tom Furse's younger brother Freddie Cowan; Tom Furse had also joined the Vaccines on stage earlier on the same day. They were also chosen to perform at the ATP I'll Be Your Mirror festival curated by ATP and Portishead in September 2011 in Asbury Park, New Jersey.[19] In November 2011, The Horrors remixed Lady Gaga's song "Bloody Mary" for the singer's compilation album, Born This Way: The Remix.[20]

The band joined Florence and The Machine on the UK and Ireland leg of her Ceremonials Tour in March 2012. They also headlined the Word Arena tent of 2012's Latitude Festival. In December 2012, the Horrors released the remix vinyl box set Higher.

Luminous (2013–2014)

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The Horrors headlined the Truck Festival in Oxfordshire on 19 July 2013[21] and the Y Not Festival in Derbyshire on 4 August 2013.[22]

The band's fourth studio album, Luminous, was released on 5 May 2014. The record was self-produced and recorded in their own studio in Hackney, London.[2] It was described as being "fun and danceable".[23][24]

V (2015–2020)

[edit]

In June 2015, Badwan said that the band were working on an album with producer Paul Epworth, and were aiming to release it before the end of 2015.[25] They supported New Order in November 2015,[26] and played several festivals in 2016, including the Victorious Festival in Portsmouth, UK on 28 August.[27]

The Horrors performing in 2018

In June 2017, they supported Depeche Mode for part of the latter's Global Spirit Tour.[28] On 13 June, they announced the release of a new single, "Machine".[29] It premiered via BBC 6 Music.[30] On 28 June, they announced the release of their fifth album, titled V, which was released on 22 September. The band previewed the album's release with a small show at London's Omeara on 11 July, while a full UK tour had been announced for October in support of the new album.[31]

Lout and Against the Blade (2021)

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On 12 March 2021, the band released their third EP, Lout and released their fourth EP, Against the Blade, on 5 November 2021. The two featured the band performing in a techno-industrial style. The band announced on 16 November 2021 that keyboardist Tom Furse would not be performing live with the Horrors "for the foreseeable future," with Furse clarifying he would still contribute to their studio recordings.[32]

Night Life (2024–present)

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On 2 October 2024, the band shared a new song after three years since their Lout EP, "The Silence That Remains". It was released as the lead single off their upcoming sixth album, Night Life. It was released on 21 March 2025 via Fiction Records. The band's founding members Badwan, Hayward, and Webb were all involved in the making of the album, also featuring their new members Amelia Kidd on keyboards and backing vocals and Jordan Cook on drums.[6]

Side projects

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Rhys Webb and Tom Furse released an EP called Something Clockwork This Way Comes (2009) under their side project name Spider and the Flies, influenced by the experimental electronica of the BBC Radiophonic Workshop.

Badwan teamed up with ex-Ipso Facto member Cherish Kaya, calling themselves Lumina, to record a cover of the Black Lips song "I'll Be With You" (which appeared as a B-side on the Black Lips single "Drugs").[33] Badwan formed Cat's Eyes with multi-instrumentalist, composer and soprano vocalist Rachel Zeffira, releasing the Broken Glass EP and self-titled full-length album in 2011, the soundtrack to The Duke of Burgundy in 2015, and Treasure House in 2016.

In 2015, Tom Furse announced the 28 August release of his debut solo EP, Child of a Shooting Star, through the official Lo Recordings website.[34] That same year he also released the library music compilation album Tom Furse Digs.[35] His album Interludes was released in 2016, made in one week and using only the OP-1 synthesiser. Furse is also involved with MIEN,[36] featuring members of The Black Angels, The Earlies, Swans and Elephant Stone, who released their self-titled debut album in 2018.

In 2021 Webb also joined garage punk band The Shadracks playing bass [37] Members of the Horrors have also played with the Diddlers (a Bo Diddley cover band), Cramped (a Cramps cover band) and Heavy Bunny.

Band members

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Current

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  • Faris Badwan (aka Faris Rotter) – lead vocals (2005–present)
  • Rhys Webb (aka Spider Webb) – bass (2008–present), keyboards, organ, percussion, backing vocals (2005–2008)
  • Amelia "Millie" Kidd - keyboards, backing vocals (2024–present)
  • Jordan Cook - drums, percussion (2024–present)

Former

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  • Tom Furse – bass (2005–2008), keyboards, synthesiser, percussion (2008–2021)
  • Joseph Spurgeon (aka Coffin Joe) – drums, percussion, backing vocals (2005–2024)
  • Joshua Hayward (aka Joshua Von Grimm and Joshua Third) – guitar, piano (2005–present)

Discography

[edit]
Main article: The Horrors discography
Studio albums

References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Horrors

View on Grokipedia
from Grokipedia
The Horrors are an English rock band formed in in 2005, initially emerging from the revival scene with a distinctive gothic aesthetic and sound that evolved over two decades into psychedelic, , and dark electro-rock territories. Founded by vocalist and guitarist Joshua Hayward, the band quickly gained attention for their raw energy and horror-inspired visuals, blending influences from , garage punk, and in their early work. Over time, they incorporated expansive synths, atmospheric production, and experimental elements, earning critical acclaim for genre-hopping innovation across six studio albums. The band's original lineup included Badwan on vocals, Hayward on guitar, Rhys Webb on bass, Tom Furse on keyboards, and Joseph Spurgeon on drums, though by 2025, it had shifted to a core of Badwan, Webb, and Hayward, joined by keyboardist/vocalist Amelia Kidd and drummer Jordan Cook for their latest release. Their debut album, Strange House (2007), captured their frantic garage-punk roots with tracks like "Jack the Ripper," establishing them as a provocative force in the UK indie scene. Subsequent releases marked a stylistic progression: Primary Colours (2009) introduced shoegaze and post-punk textures, peaking at number 25 on the UK Albums Chart; Skying (2011) embraced psychedelic pop; Luminous (2014) explored luminous synth-rock; and V (2017) delved into brooding, electronic-infused introspection, produced by Paul Epworth. In 2025, The Horrors returned after an eight-year hiatus with Night Life, their sixth , which shifts toward heavier, darker electro-rock with industrial edges, processed drums, and moody basslines, reflecting a refreshed lineup and confrontational intensity while honoring their atmospheric heritage. Released via , the album features singles like "The Silence That Remains" and underscores the band's enduring reputation for bold reinvention, having influenced contemporary indie and alternative acts through their visual flair and sonic experimentation.

History

Origins (2005–2006)

The Horrors were formed in 2005 in , , by vocalist , guitarist Joshua Hayward, keyboardist Tom Furse, bassist , and drummer Joe Spurgeon. The group emerged from the local underground scene, initially operating as a DJ called Junk Club before transitioning to a full band focused on live performances. Their early incarnation drew from the raw energy of Southend's nightlife, where members bonded over shared interests in and provocative aesthetics. The band's initial aesthetic blended goth-punk elements with inspirations from 1960s and tropes, leading them to adopt exaggerated horror-inspired personas and stage names such as "Faris Rotter" for Badwan and "Spider Webb" for . This visual and thematic approach, characterized by tall hairstyles, dark clothing, and theatrical menace, aimed to evoke a sense of chaotic reminiscent of horror icons and vintage punk attitude. Their sound in this period emphasized high-energy, lo-fi garage punk, prioritizing intensity over polish to capture the visceral spirit of early influences like The Sonics and The Cramps. The Horrors made their first live appearances in 2005 at local Southend venues, including a notable debut at The Spread Eagle in on August 16, where performances were notoriously brief and tumultuous, often lasting just 7-15 minutes amid frenzied energy and occasional destruction. These chaotic shows, fueled by adrenaline and a desire to provoke audiences, quickly garnered underground buzz through write-ups and word-of-mouth in the indie scene, positioning the band as daring newcomers unafraid to alienate as much as captivate. In 2006, the band signed with Loog Records, a label known for championing garage and acts, which facilitated their entry into wider distribution. Their debut EP, titled The Horrors (also known as We Are the Horrors), was released on October 24, 2006, via Stolen Transmission in the US but backed by Loog in the UK; it featured raw tracks like "" (a cover of the song) and "Death at the Chapel," alongside originals such as "Sheena Is a Parasite," showcasing their snarling, surf-tinged garage sound. This release marked their first official output, compiling earlier singles and highlighting their debt to psych-punk. Early media attention from outlets like , which featured them on its cover in August 2006 before the EP's launch, and sessions amplified their profile, framing The Horrors as key players in the burgeoning alongside acts like and Franz Ferdinand. This buzz stemmed from their striking visuals and unhinged live energy, which contrasted with the era's more polished indie trends, helping solidify their reputation as provocateurs in the UK resurgence.

Strange House (2007–2008)

The Horrors recorded their debut album in 2006 with producer Jim Sclavunos, who contributed to capturing the band's raw garage punk sound across various London studios including Chapel Studios and Assault & Battery Studios. The sessions emphasized the group's early goth-tinged aesthetic, building on their formation influences, and resulted in a 11-track collection that showcased their high-energy, lo-fi approach. Released on March 5, 2007, via Loog Records, the album featured standout tracks such as "," a cover of the classic reimagined with frenetic punk urgency; "Count in Fives," a driving single highlighting vocalist Faris Badwan's snarling delivery; and "Sheena Is a Parasite," a blistering opener that had already gained cult attention as an earlier single. Strange House marked the band's breakthrough in the UK indie scene, peaking at No. 37 on the and spending two weeks in the top 100. The lead single from the album, "Gloves," achieved a higher profile by reaching No. 34 on the UK Singles Chart, while earlier releases like "Death at the Chapel" helped build anticipation without entering the charts. To promote the record, The Horrors undertook an intensive 18-month world tour, focusing heavily on the and in 2007–2008; this included high-profile support slots for on their UK arena dates, where the band's theatrical style drew mixed crowd reactions, and headline appearances at major festivals such as Reading and in August 2007, where they delivered sets blending chaotic energy with covers. Critics lauded for its visceral raw energy and unapologetic nod to revivalism, though some noted its derivative elements echoing influences like and early . hailed it as a "strong debut" that proved the band's substance beyond their gothic image, emphasizing its cohesive, psychedelic-tinged chaos despite occasional lulls in pacing. The album's reception solidified The Horrors' place in the mid-2000s indie wave, but as Loog Records wound down operations amid Universal Music Group's restructuring, the band transitioned to in 2008 for future releases.

Primary Colours (2009–2010)

Following their debut album , which embraced a raw garage punk sound, The Horrors underwent a marked stylistic evolution for their second record, incorporating psychedelic and influences through layered synths and expansive production. The album Primary Colours was recorded in 2008 and produced by Portishead's , music video director , and engineer , who contributed to mixing several tracks. This collaboration emphasized atmospheric textures and electronic elements, diverging from the band's earlier punk roots to create a more immersive, krautrock-inflected sound. Primary Colours was released on May 4, 2009, by in the UK and Europe, featuring standout tracks such as the eight-minute epic "Sea Within a Sea," the brooding "Mirror's Image," and the driving "Who Can Say." The album debuted at No. 25 on the , marking the band's first entry into the top 40 and signaling their broadening appeal. The "Sea Within a Sea," released on March 17, 2009, further highlighted this shift with its hypnotic build and synth-driven climax. Promotion included a month-long North American tour in September 2009, supporting the album's stateside release, along with festival appearances such as Coachella in April 2009, where the band showcased their expanded live setup incorporating synthesizers for a fuller sonic palette. Music videos for tracks like "Mirror's Image" and "Who Can Say" amplified the album's visual aesthetic, blending surreal imagery with the record's psychedelic vibe to enhance its cult following. Critically, Primary Colours earned widespread acclaim, winning NME's Album of the Year for and securing a nomination for the that same year, underscoring its role in redefining the band's trajectory toward innovative rock experimentation.

Skying (2011–2012)

Following the psychedelic evolution initiated on Primary Colours, The Horrors took greater creative control with their third album, . The band self-produced the record at their custom-built studio in London's neighborhood over the course of 2010 and 2011, allowing for an unhurried process that emphasized expansive arrangements and layered textures. This approach drew on dream pop's ethereal haze and krautrock's hypnotic rhythms, resulting in a more mature iteration of their sound. Skying was released on 11 July 2011 through in the , with standout tracks including "You Said," "," and "Endless Blue." The album debuted at number 5 on the , marking the band's highest charting release to date and reflecting their growing commercial traction. Its , "You Said," entered the UK Singles Chart at number 116, underscoring the band's appeal within indie circuits despite limited mainstream radio play. To promote Skying, The Horrors embarked on extensive touring, headlining shows across the and performing at major European festivals, including a prominent set on the Stage at in June 2011 where they showcased new material amid a rapt crowd. In 2012, the band undertook their first North American headline tour, playing venues like Music Hall of Williamsburg in and supporting the album's transatlantic reach with sold-out performances. Critically, Skying was lauded for its ambitious production and sonic breadth, with Q Magazine awarding it 4 out of 5 stars and highlighting its "expansive" scope as a step forward in the band's artistry. The positive reception extended to a companion remix album, Higher, issued in November 2012 via XL Recordings, which featured reinterpretations by artists like Blanck Mass and Andrew Weatherall, further exploring the original's atmospheric elements.

Luminous (2013–2014)

Following the expansive psychedelic sound of their previous album , The Horrors continued their self-produced approach for Luminous, recording the album over 15 months from late 2012 to early 2013 in their studio. Co-produced by the band alongside —known for his work with artists like and —the sessions emphasized a brighter, more immediate aesthetic with prominent electronic and dance influences. Luminous was released on 5 May 2014 through , marking the band's fourth studio album. It includes standout tracks such as "In and Out of Sight," "Change Your Mind," and "Falling Out of View," blending neo-psychedelic elements with propulsive rhythms. The album achieved commercial success, debuting at on the and spending three weeks in the top 40, while also topping the Official Independent Albums Chart. The "I See You" preceded the full release in 2014, setting the tone for the record's luminous energy. Promotion for Luminous featured collaborative music videos, including the surreal, abstract visuals for "So Now You Know"—directed by the band and animator Emlyn Hake—and a live-performance clip for "Change Your Mind" captured during their show. The Horrors supported the album with an extensive and European tour in , delivering high-energy sets that critics praised for their immersive stage presence and seamless integration of new material with fan favorites. Performances highlighted the album's danceable tracks, contributing to the band's reputation for dynamic live shows. After concluding the tour later in 2014, The Horrors entered an extended hiatus, allowing members to pursue individual creative interests outside the band. This period represented the peak of their commercial momentum before shifting focus to personal projects.

V (2015–2020)

Following the release and extensive touring of their fourth album Luminous in 2014, The Horrors entered an extended, unintentional hiatus, during which the band reevaluated their creative direction amid a sense of stagnation in their previous studio environment. Members pursued individual interests and side projects during this period, allowing time away from collective band activities. The band began sporadically recording their fifth studio album, V, in London starting around 2015, with principal sessions taking place at and produced by . They wrote approximately 60 songs during this process, discarding many to refine a dramatically different sound, including a brief trip to for inspiration. V was released on September 22, 2017, through the band's newly established label in partnership with Caroline International, marking their departure from long-time label after three albums. The record featured standout tracks such as "Machine," "Something to Remember Me By," and "Hologram," emphasizing a return to raw energy and gothic influences. The album's rollout encountered internal challenges, including doubts among members about continuing the band and the closure of their long-used studio due to a claustrophobic atmosphere. V debuted at No. 8 on the and received generally positive reviews, with critics praising its darker, post-punk-leaning tone and unsettling urgency, though some noted it as less experimental than prior works. Promotion included a tour across the , , and in late 2017 and 2018, though the band's dynamics limited its scope amid ongoing personal and creative tensions. After the tour concluded in 2018, The Horrors entered a prolonged period of inactivity, producing no new original material until as members navigated further personal and artistic shifts.

Lout and Against the Blade (2021)

Following a four-year hiatus after the release of their 2017 album V, The Horrors returned in with the surprise EP Lout, marking their first new material since then. The title track "Lout" was released as a single on February 23, , ahead of the full three-track EP's arrival on March 12 via Wolf Tone Records. Self-produced by the band in , the EP featured a raw, industrial edge with tracks like "Org" and "Whiplash," emphasizing short, aggressive bursts of sound amid the constraints of the . This approach allowed the group to experiment without committing to a full-length , reflecting a DIY ethos born from isolation. Building on this momentum, The Horrors issued the follow-up EP Against the Blade later that year, with its title track dropping on and the complete three-track release following on November 5, again through Wolf Tone Records. Also self-produced in , the EP continued the heavier, punk-adjacent intensity of Lout, incorporating distorted guitars, pounding rhythms, and themes of defiance, as heard in songs like "Showman" and "." The lingering creative stagnation from the V era's aftermath was evident in this reinvention, as the band channeled pandemic-induced downtime into visceral, concise output that avoided traditional touring circuits still hampered by global restrictions. Both EPs were met with enthusiastic reception from fans and critics for their energetic revival of the band's early ferocity, updated with industrial and electronic brutality. Reviews praised the "gloriously filthy" sonics and "bristling intensity," positioning the releases as a bold stylistic pivot that reignited interest in the group's evolution. Accompanying amplified this with surreal, nightmarish visuals—Lout's by Jordan Hemingway depicted contorted figures in stark industrial settings, while Against the Blade's clip, directed by Bunny Kinney, featured demonic and glitchy . In interviews, teased more material on the horizon, hinting at an impending full that would expand on these experiments.

Night Life (2024–present)

On 2 October 2024, The Horrors announced their reunion with a revamped lineup, marking a return to activity after several years of limited output, building on the singles from their 2021 release Lout and Against the Blade. The band shared the lead single "The Silence That Remains," a haunting track that previewed the gothic and electronic directions of their forthcoming album. This announcement introduced new members Amelia Kidd on keyboards and backing vocals—previously of —and on drums from Telegram, who joined in October 2024 to solidify the live configuration alongside core members , , and Joshua Hayward. The sixth studio album, Night Life, was recorded between 2023 and 2024, with songwriting beginning in June 2023 in and principal sessions commencing the following month in under producer Yves Rothman. Released on 21 March 2025 via , the album comprises nine tracks blending semi-electronic hymns with dystopian, goth-infused soundscapes, emphasizing darker, more introspective themes than prior works. It debuted at No. 16 on the . Tom Furse has remained inactive for live performances since 2021, while Joe Spurgeon stepped back in 2024, allowing the new lineup to take shape for promotional efforts. Initial reception praised the album's refreshed energy, with highlighting the "gothic new single" upon its debut and broader reviews noting its electro-punk nuances and nocturnal melancholy. To promote Night Life—the band's first full-length since 2017's —they scheduled tours across the and in 2025, including intimate album-launch shows in March that drew positive responses for their raw, synth-driven intensity. As of November 2025, the ongoing tour, with dates such as on November 19, has been reported as immersive and gloomily captivating, signaling sustained momentum for the group's ongoing evolution.

Musical style and influences

Early garage punk phase

The Horrors' early garage punk phase, spanning their formation in 2005 through the release of their debut album Strange House in 2007, was defined by a raw, high-energy sound rooted in 1960s garage rock traditions. The band's music featured distorted guitars driving aggressive riffs, paired with Faris Badwan's yelping, barked vocals that conveyed urgency and chaos. This sonic palette was enhanced by the prominent use of Farfisa and Hammond organs, which added a swirling, retro organ texture reminiscent of mid-1960s proto-punk acts. Lyrics centered on horror-themed narratives of death, murder, and rebellion, evoking a gothic undercurrent that aligned with the band's macabre aesthetic. Key influences shaped this phase, drawing heavily from American garage rock pioneers like The Sonics, whose raw aggression and distorted energy informed the band's noisy, primal approach, as well as early UK punk forebears such as The Damned for their irreverent blend of horror and speed. Screaming Lord Sutch's shock-rock antics and horror motifs also left a mark, particularly evident in the band's cover of his track "Jack the Ripper," which they incorporated into early rehearsals and performances to channel a theatrical sense of dread. Tracks were typically short and explosive, often clocking in under three minutes, as seen in songs like "Sheena Is a Parasite" and "Count in Fives," which built tension through frantic pacing and sudden bursts of noise. The debut EP, The Horrors EP (2006), exemplified this style with its 15-minute runtime of chaotic garage-punk blasts, including "Death at the Chapel," a tale of a murderous intruder delivered in unsettling, yelping tones over grinding guitars. Strange House expanded on these elements, compiling aggressive, sub-three-minute cuts like "Draw Japan" (a stalker's ) and "Gloves" (evoking a surreal slasher scene), all unified by themes of morbidity and defiance. Production during this period emphasized a lo-fi, reverb-heavy aesthetic to mimic the echoey, amateurish vibe of garage recordings, achieved through DIY methods with minimal electronic intervention beyond the organs. The result was a deliberately unpolished sound that prioritized visceral impact over refinement, capturing the band's youthful intent to "make a racket and have fun" while evoking the rebellious spirit of their influences.

Shift to psychedelic and electronic elements

With the release of Primary Colours in 2009, The Horrors marked a significant evolution from their earlier garage punk roots, embracing shoegaze-inspired walls of sound characterized by dense, reverb-drenched guitars and synthesizers that created immersive, atmospheric textures. This shift introduced broader sonic palettes, moving away from the raw minimalism of their debut toward more expansive arrangements that incorporated electronic elements like pulsating synth lines and echoing effects. The album's production, handled by the band alongside of Portishead and , emphasized polished layers and spatial depth, enhancing the transition to a more introspective and psychedelic aesthetic. Key influences during this period included pioneers My Bloody Valentine, whose guitar-driven haze and blurred melodies informed tracks like "Mirror's Image," and , whose droning contributed to the album's hypnotic undercurrents. bands such as Neu! also played a pivotal role, evident in the rhythms and repetitive builds of the seven-minute closer "Sea Within a Sea," which fused urgency with extended, trance-like progression. These elements allowed The Horrors to explore themes of emotional isolation and reverie, contrasting their prior high-energy aggression with subtler, more contemplative songwriting. Building on this foundation, (2011) further amplified the band's psychedelic and electronic leanings, self-produced in their studio and mixed by to achieve a luminous, quality. Songs like "Changing the Rain" and "" featured extended structures averaging 4–6 minutes, with layered guitars swirling around electronic pulses and ambient interludes that evoked expanses. The album's incorporation of hazy synth washes and reverb-heavy production deepened the introspective mood, drawing on traditions while introducing subtle electronic motifs that hinted at broader textural experimentation. This phase solidified The Horrors' mid-career identity, blending immersion with propulsion to create accessible yet enveloping soundscapes.

Later experimental developments

Following the more accessible, dance-oriented edges of their 2014 album Luminous, The Horrors shifted toward darker, industrial tones on their 2017 release V, incorporating synthesizers and electronic elements that evoked a sense of tension and unease. Tracks featured churning industrial pop structures with glacial synth lines and propulsive rhythms, often driven by synth bass and implied drum machine patterns, creating a world-weary atmosphere that contrasted the band's earlier expansiveness. This evolution marked a deeper engagement with electronic minimalism, blending sparse arrangements with commanding vocals to produce an unsettling, retro-leaning sound. The band's experimentation intensified with the 2021 EPs Lout and Against the Blade, which plunged into further abstraction through and chaotic soundscapes. These releases emphasized dense, cutting riffs alongside volatile synths and bizarre choral elements, resulting in a brutal, multiform aesthetic that fused punk urgency with electronic distortion. The sparse yet aggressive arrangements highlighted a gothic revival, evoking influences like Joy Division's brooding intensity and 's raw electronic minimalism—bands the group had previously covered and admired. This trajectory culminated in the 2025 album Night Life, which explored nocturnal themes through dark synth-driven hymns and dystopian atmospheres, representing the band's most introspective and gothic phase to date. Building on the tension of V and the abrasion of the 2021 EPs, the record adopted nuanced electronic minimalism with haunting, semi-electronic structures that delved into desolation and subtle pleasures, echoing the cinematic experimentation of frontman Faris Badwan's side project Cat's Eyes. Overall, these developments reflected a progression from mid-period psychedelia toward a edgier fusion of post-punk urgency and gothic electronic abstraction.

Band members

Current members

Faris Badwan serves as the lead vocalist and primary songwriter for The Horrors, a role he has held since co-founding the band in in 2005. Born on 21 September 1986 in Bexley, , to a Palestinian father and an English mother, Badwan has driven the band's creative direction through his lyrical themes and visual concepts, including artwork and stage design that enhance their atmospheric sound. In the band's 2025 album Night Life, Badwan's songwriting and vocals center on gothic introspection and electronic textures, marking a pivotal evolution in their output. Joshua Hayward is the guitarist and backing vocalist, an original member who joined in 2005 and has contributed to the band's sonic experimentation since its . Holding a first-class in physics, Hayward has designed custom guitar effects pedals that shape The Horrors' expansive soundscapes, influencing their shift toward psychedelic production. Since the 2011 album , he has taken on key duties, co-producing tracks that emphasize layered guitars and immersive atmospheres; his work on Night Life continues this by integrating retro-futuristic elements with the new lineup. Amelia Kidd joined The Horrors in October 2024 as keyboardist and backing vocalist, bringing electronic expertise from her prior work in indie and projects. As co-founder of the Glasgow-based duo , where she handled synthesizers and vocals alongside Haydn Park-Patterson since 2012, Kidd has honed a style blending noisy synths with emotive melodies. Her addition infuses Night Life with duet vocals and keyboard arrangements that amplify the album's haunting, electronic pulse, as heard in tracks like "The Silence That Remains." became the band's drummer in October 2024, contributing dynamic rhythms drawn from his experience in high-energy live settings. Previously with the psychedelic glam-rock outfit Telegram, where he joined as a core member around 2014, Cook is recognized for his intense, propulsive drumming that elevates performances. On Night Life, his playing provides the driving force behind the album's nocturnal grooves, enhancing the live energy of the refreshed lineup during their 2024-2025 tours. plays bass and provides backing elements, having been an original member since 2005. Hailing from , where the band formed, Webb's basslines have long anchored their , evolving from garage roots to more experimental tones. His role in positions him with Badwan as the duo at the heart of Night Life, where his contributions add depth to the bass-driven tracks that explore themes of renewal and shadow.

Former members

Tom Furse served as a founding member of The Horrors, initially playing bass from 2005 to 2008 before transitioning to keyboards, , and percussion through 2021. His contributions were instrumental in the band's evolution toward psychedelic production, particularly evident in albums like Primary Colours (2009) and (2011), where his synth layers added atmospheric depth and experimental textures. Furse stepped away from live performances in November 2021, citing a preference for studio creation over touring, stating that the road life no longer suited him after 16 years. Joseph Spurgeon, known onstage as , was another original member, handling drums, percussion, and backing vocals from the band's formation in 2005 until 2024. His energetic drumming provided the raw, propulsive drive that defined the group's early garage punk sound on their debut album (2007), blending aggressive rhythms with gothic elements. Spurgeon departed in 2024 to prioritize family time and other personal commitments, having contributed to initial sessions for Night Life but ultimately choosing to step back. His absence, alongside Furse's earlier exit, influenced the lineup adjustments during the promotion of (2017) and the development of the Night Life era.

Other activities

Side projects

Faris Badwan, the band's lead vocalist, formed the alternative pop duo with Canadian soprano and multi-instrumentalist Rachel Zeffira in 2011. Their self-titled debut album, released that year on , featured a mix of , , and retro influences, drawing comparisons to 1960s girl groups and film scores. The duo's second album, Treasure House, arrived in 2016 via PIAS Recordings, expanding on their signature blend of lush arrangements and Badwan's baritone vocals alongside Zeffira's operatic elements. Tom Furse, the band's former keyboardist and synthesizer player, pursued solo electronic work during the late 2010s. His debut album, Interludes (2016), was composed entirely using a portable synthesizer, resulting in a collection of experimental ambient tracks characterized by minimalist loops and atmospheric textures. Furse followed this with Ecstatic Meditations (2021) on Lo Recordings, a series of extended, meditative electronic pieces that evoked cosmic and introspective journeys, including the 20-minute opener "A Journey in Ecstasy." Rhys Webb, the band's bassist, collaborated with Furse on the electronic side project Spider and the Flies. The duo released the mini-album Something Clockwork This Way Comes in 2009 on Mute's Irregular series, produced by Barry 7 of Add N to (X), blending live instrumentation with post-production effects to create glitchy, futuristic soundscapes. These individual and collaborative ventures offered the members creative freedom amid the band's reduced activity between their 2017 album V and the 2021 EPs Lout and Against the Blade.

Collaborations and tours

The Horrors have engaged in notable production collaborations, particularly with renowned engineer and producer , who contributed to their debut album (2007) by mixing several tracks and providing engineering support. Moulder's involvement helped shape the band's early sound through his expertise in and production. The band's touring history began with a breakthrough in the UK via the Shockwaves NME Awards Indie Rock Tour in early 2007, which featured 18 headline dates and marked their rapid rise from underground buzz to national attention. This momentum carried into festival appearances, including a high-energy set at Reading and Leeds Festivals in August 2007, where they performed tracks from Strange House and covered Joy Division to a receptive crowd. International expansion followed with a month-long North American headline tour in September 2009 supporting Primary Colours, encompassing shows in cities like Boston, New York, and Los Angeles. They extended this phase to Australia, headlining Big Day Out in January 2010 alongside acts like Muse and Vampire Weekend. Key festival milestones included their Coachella debut in April 2009, where they delivered a shoegaze-infused performance on the Mojave Stage amid a diverse lineup featuring and My Bloody Valentine. At in June 2011, The Horrors played the Stage, showcasing material from to an enthusiastic audience as part of a bill headlined by and . Their 2017 tour for V was more restrained, limited to 11 dates across the and in October, focusing on intimate venues to promote the album's experimental edge. The severely disrupted live activities in 2020, with global tour plans canceled alongside widespread industry shutdowns, forcing the band to pause performances. They adapted by rescheduling select dates to late 2021 and early 2022, marking a cautious post-pandemic return with shows at venues like London's in December 2021 and Bristol's Electric in November 2022. This period also saw lineup adjustments, with the group performing as a four-piece after keyboardist Tom Furse stepped back from live duties. By 2025, The Horrors relaunched with a refreshed lineup for the Night Life and Europe tour, announcing 19 dates starting in on November 19, including stops in Birmingham, , and , emphasizing immersive club-style presentations.

Discography

Studio albums

The Horrors have released six studio albums since their formation in 2005, marking an evolution from raw garage punk roots to increasingly experimental psychedelic and electronic soundscapes. Their discography reflects a progression toward broader sonic exploration, with each release building on the previous while achieving progressive commercial success in the UK charts.
AlbumRelease DateLabelUK Peak Chart Position
5 March 2007Loog Records37
Primary Colours5 May 200925
11 July 20115
Luminous5 May 20146
V22 September 2017/Caroline International8
Night Life21 March 202516

Singles and EPs

The Horrors have issued over 20 singles and EPs since , beginning with garage rock-oriented physical releases on Loog Records and Stolen Transmission, shifting to digital-focused formats post-2009 primarily through , with recent output on , Virgin, and . These shorter releases often served as album previews or standalone experiments, emphasizing markets with limited physical editions early on. Key examples include their debut EP and select singles, detailed below. Formats transitioned from vinyl and to predominantly digital by the late , with some limited vinyl reissues.
TitleTypeRelease DateLabelUK PeakFormats
Sheena Is a Parasite / SingleMarch 2006Loog Records—7" vinyl (limited)
The HorrorsEP24 October 2006Stolen Transmission—, digital
Death at the ChapelSingleMay 2006Loog Records—7" vinyl, digital
GlovesSingleFebruary 2007Loog Records34, digital
She Is the New ThingSingleJune 2007Loog Records89, digital
Sea Within a SeaSingle17 March 2009—12" vinyl, digital
Still LifeSingle7 March 201163Digital
You SaidSingleSeptember 2011—Digital
HigherRemix collectionDecember 2012—Digital, vinyl box set (limited)
In and Out of SightSingleJuly 2014—Digital
LoutEP12 March 2021Wolf Tone / Virgin—Digital, 7" vinyl (limited)
Against the BladeEP5 November 2021Wolf Tone / Virgin—Digital
The Silence That RemainsSingleSeptember 2024—Digital
Chart positions reflect UK Singles Chart peaks where applicable; dashes indicate no entry in the Top 100. Early physical singles like "Count in Fives" (2006, Loog) and promotional EPs such as "Strange House B-Sides" (2007, Stolen Transmission) supplemented album campaigns without charting. Later digital singles, including "Who Can Say" (2009, XL) and "Changing the Rain" (2012, XL), focused on streaming and download promotion rather than physical distribution.

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