Fairhorns: Doki Doki Run – album review
Fairhorns â Doki Doki Run (Invada Records)
The astute amongst you will recognise the name of Fairhorns sole protagonist, Matt Loveridge, as the guy behind the Knife Liibrary release we reviewed earlier in the year here. Of course you may also know him as the third leg of BEAK>, who of course also had an album out earlier in the year & which we reviewed here. Now going for & completing the hat trick of Louder Than War review’s (in less than 6 month’s!) we have Matt’s third release of the year (and his second solo one) this time under the ‘Fairhorns’ moniker. As those previous two releases scored top marks (or great reviews anyway) in these pages the question no doubt on your lips is whether or not this album keeps that ball rolling. Read on to find the answer to this question.
Bristolian Matt Loveridge of BEAK> fame (amongst other things) comes from nowhere with the soundtrack to a hazy, chilly and colourful autumn day. Experimental music that takes influence from the early German Electronic music, (Iâm not using that term that everyone uses). Pop sensibilities and drone all mixed into an album that just screams out for attention.
Opener Ragnarok (which you can catch a stream of over on tQ here) starts like an old Human League song with thumping bass and the retro stylings of an old drum machine before a droning chord builds and builds until the song turns into a powerful choral drone. As it changes, the influence of Tangerine Dream canât be ignored, nor the early style of Frank Tovey (RIP).
âDoki Doki, Youâre Fucking Deadâ follows a similar musical vain although features more instruments than the opener.
âWorried Thrumâ wouldnât be out of place on the last Mothlite album, which is no bad thing whatsoever. What really makes it all work is the strong pop influence. When Prurient released their (his) last album there was talk of it being âPop Whitehouseâ!! Idâs hazard a guess that this is âPop Nadjaâ.
Highlight is track 5, Qiyamat for Onion Knights (Pardon) is a guitar led journey of garbled voices, drone guitar and spritely keyboards. What makes it stand out is the fact that it still retains a pop element despite the nature of the music. Very clever indeed. Prurient pulled this trick off with Bermuda Drain (A pop version of Whitehouseâ¢ Gary from Sister Ray) but this puts even that release to shame.
Excellent stuff and I hope we get some live dates to enjoy this in its correct setting.
All words by Nick Wood. You can read more from Nick on LTW here.