Posts Tagged ‘Tom Furse’

Lout red vinyl

It’s been four years since British synth-krautrockers The Horrors made our ears happy with their fifth LP called “V”. A first-class work of multi-layered-soundscapes. The Horrors’ EP “Lout” is a quick listen at only three tracks, and it doesn’t waste a second of fuzzy, thrashing sound. “Lout” is the British band’s first release of new music since 2017’s “V“, and is a chaotic and addicting outpouring of noise. From the pulsating synths on “Org” to the driving distorted guitar on the title track, The Horrors take no breaks from their intense, high-energy creation on their latest release.

A great Surpriiiise! that The Horrors are back to deafen/delight in equal measure. Our new song “Lout” is available to dissect, devour and destroy on all streaming platforms now. Taken from our upcoming EP, released in full on 12.03.21. Thank you to Lauren Laverne for giving it its first play today.

They’re finally back from wherever they were hiding. And how! New single “Lout”, the title-track from a new upcoming EP, is a mind-slashing, industrial drone that keeps on pounding and pounding until the wall comes down. Hefty stuff, folks! Just the way I like it, any day, any time!

The long-awaited return with a brand-new single “Lout” released on blood red 7” vinyl, strictly limited to 1500 copies worldwide.

According to lead singer Faris Badwan, “Lout is about the relationship between choice and chance, compulsive risk-taking and pushing your luck. As a band, particularly live, we’ve always had an aggressive side and as we began writing new songs it became clear that we were heading in that direction.”

This bold new sound is partnered with a striking visual aesthetic carried across the artwork, videos, upcoming merch collection and press shots, born from collaborations between the band and creative director Bunny Kinney, legendary beauty executive Isamaya Ffrench, videographer Jordan Hemingway and Loverboy designer Charles Jeffrey.

The Horrors the band returns to their roots with more of a Ministry/Nine Inch Nails edge. This three-song EP takes a sharp left turn from the band’s more recent albums which swam more in the pop/electronic pool and we’re happy to see the band embrace the heavier side of their sound.

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With their fifth album, ‘V’, The Horrors were ready to take on all comers, vigorously enforcing the widely-held belief that their time was at hand.
Renowned for boldly going where most bands fear to tread, The Horrors are masters of reinvention who once again upped the ante with their compelling, enigmatically-titled fifth album, V.
The chameleonic Southend-on-Sea popsters initially sprang onto the scene touting a chaotic fusion of 80s gothabilly and 60s garage-rock on their 2007 debut, Strange House. Yet after they changed course dramatically with 2009’s epic, motorik-influenced single ‘Sea Within A Sea’, they’ve continued to wow fans and critics. Their sophomore release, the psychedelia-streaked Primary Colours (produced by Portishead mainstay Geoff Barrow) drew considerable praise, while 2011’s synth-heavy Skying and 2014’s Luminous have ensured that The Horrors’ career remains on an upward trajectory.

The band followed their muse (almost literally) to the end of the earth to work up the songs for V. Frontman Faris Badwan and bassist Rhys Webb decamped to Iceland with a Korg drum machine and some acoustic guitars to write songs in a remote cabin, while guitarist Joshua Third, keyboard wizard Tom Furse and drummer Joseph Spurgeon also composed new tracks individually. Bringing it all back home, the quintet later hooked up with producer Paul Epworth (Paul McCartney, Coldplay, U2) and magic began to happen.

Recalling the V album sessions with fondness, The Horrors were fulsome with praise for their new producer’s enthusiasm, not to mention his spontaneity. “We’d start off with some little motif, usually an electronic loop that seemed appealing, and build stuff up,” said Joshua Third. “It was like two songs a day, we hadn’t worked like that in years. He [Epworth] would keep the whole thing rolling, whereas we’d got to a stage where we’d bunker down and chat about something for ages. But he’s so obsessed with action, it’s refreshing.”

Equal parts light and shade, V, which was released on 22nd September 2017, is arguably the darkest, yet conversely the most accessible record The Horrors have unleashed to date. The album introduces itself in dramatic fashion, with glacial, Gary Numan-esque synths framing the churning, industrial pop of ‘Hologram’, while the glitchy electronica ushering in ‘Machine’ morphs into prowling, Stooges-style aggression as the song shifts into high gear. Destined to join ‘Still Life’ and ‘Sea Within A Sea’ as one of The Horrors’ signature songs, meanwhile, V’s centrepiece is surely ‘Weighed Down’: an elegiac, dub-infused anthem which slow-burns its way across an unmissable six and a half minutes.

Elsewhere, however, V parades some of the most unashamedly confident, radio-friendly pop of The Horrors’ career to date. Buoyed up by bubbling sequencers, the recently released ‘Something To Remember Me By’ has already burnt up the airwaves, while the snappy ‘World Below’ and poised, infectious ‘Press Enter To Exit’ exude all the hallmarks of killer hits-in-waiting. Then there’s the album’s dark horse, ‘Gathering’: an eerie, ‘Karma Police’-esque commentary on CCTV-related surveillance culture couched in the most elegant and enticing of melodies.

Released in the wake of an arena tour supporting Depeche Mode, wherein the band proved beyond doubt they’re capable of conquering stadiums on their own, V vigorously enforced the widely-held belief that The Horrors were ready to take on all comers. As the chorus to ‘Hologram’ suggests – they just need to “ride this wave as far as we can”.

Rocket Recordings are pleased to reveal the self-titled debut album by MIEN, the exciting new four piece band comprised of The Black Angels’ Alex Maas, The Horrors’ Tom Furse, Elephant Stone’s Rishi Dhir and The Earlies’ John-Mark Lapham.

The seeds were sown for this collaboration as long ago as 2004, when Rishi Dhir (Elephant Stone) found himself in a chance encounter with Black Angels frontman Alex Maas whilst performing sitar with his former band on a bill at SXSW in Austin with The Brian Jonestown Massacre. Not long afterwards, he would also stumble across electronics guru and producer John Mark Lapham from Anglo-American band The Earlies, via a shared love for one song – the ‘classic sitar banger’ by The Association, ‘Wantin’ Ain’t Gettin’.

Some years later, another piece of the puzzle came into place, when Dhir was now playing bass with The Black Angels in 2012, and found the band sharing several bills with The Horrors. Thus he made the acquaintance of Tom Furse, and yet another pact was made to work together.

Several traversals of the globe by both plane and audio- le later, the result is an album that sees this quartet transcending their origins whilst maintaining a cohesive unity borne of a desire for outward exploration. John Mark’s vision, as he puts it, was “imagine the Black Angels as Nico in her 80’s industrial phase mixed with George Harrison and Conny Plank.” – true to form,it’s an album that nds equal room for radiant groove-based propulsion and ambient dreamscapes alike – as comfortable with the murky hallucinogenic voyage of ‘You Dreamt’ as the powerful widescreen sweep of ‘(I’m Tired Of) Western Shouting’, yet with songwriting acumen as potent as the production values are expansive and exploratory.

This may have been a record put together at a distance – yet the chemistry between these four gures is manifest amidst a kaleidoscopic series of atmospheres and excursions whereby the fertile songwriting of the golden age of ‘60s psychedelia is transmitted into a transcendental realm above and beyond the second decade of the 21st century.


MIEN are: Alex Maas (vocals, samples, loops), Tom Furse (keyboards, programming), Rishi Dhir (bass, sitar, keyboards) and John-Mark Lapham (keyboards, samples, programming).

Releases April 6th, 2018

Newly formed psych project Mien is a supergroup as meeting of the minds. It brings together the talents of Elephant Stone sitar player Rishi Dhir, Black Angels vocalist Alex Maas, The Horrors keyboardist Tom Furse, and electronic manipulator John-Mark Lapham of The Earlies. The members are separated by geography and much of the album was written and recorded long distance, but they’re united by a love of classic psychedelia and cutting-edge studio voodoo.

“Earth Moon,” the second single off their forthcoming self-titled debut, is a baroque testimony to what can happen when heads like these get together. Cascading sitar and billowing layers of Krauty keyboards ride a driving, motorik beat to a peak of eerie elation. The hyperreal production is made possible by technology, not to say drugs, that they just didn’t have in the ’60s. Listen close and you can hear a bit of each musician’s signature in the song’s psilocybin swirl – and plenty of what the future holds for mind-expanding music.

Mien incarnates on this plane April 6th via Rocket Recordings. The band makes their live debut in April at Levitation Festival.


Band Members
Alex Maas
John Mark Lapham
Rishi Dhir
Tom Furse

As reported before Rocket Recordings are extremely excited to be releasing the self-titled debut album by MIEN, the new four piece band comprised of The Black Angels’ Alex Maas, The Horrors’ Tom Furse, Elephant Stone’s Rishi Dhir and The Earlies’ John-Mark Lapham.
After revealing the video for their debut track Black Habit we are pleased to share with you the second track from the album which is called ‘Earth Moon’.
The single will be released on 6th March and will feature a killer remix of MIEN’s first single Black Habit by the ever great $hit and $hine. We will reveal this mighty slab of industrial psych shortly!

The press reactions to the band’s first single “Black Habit” has been overwhelming:
“Apocalyptic psych rock.” Pitchfork–
“MIEN is the line-up of your dreams.” Clash
“Kaleidoscopic series of atmospheres and excursions.” 
Self Titled Mag

Elephant Stone

SEM Video Exclusive: Elephant Stone Premieres “Child of Nature” (The Tom Furse [The Horrors] Extrapolation)

Yesterday, SEM premiered the video for Anton Newcombe and Fabien Leseure’s remix of “Three Poisons,” the first track on ES3PRMX, a collection of six remixes of songs from Elephant Stone’s breathtaking 2014 LP, The Three Poisons. Tom Furse (The Horrors’ subtractive synthesis genius) reinvents/re-imagines Child of Nature from Elephant Stone’s The Three Poisons (2014) as a house/dancefloor timebomb.

Today, we proudly present the video for Horrors’ keyboardist Tom Furse’s remix of “Child of Nature.”

Montreal’s Elephant Stone was formed in 2009 by sitarist/bassist Rishi Dhir. As one of the most highly sought out sitar players in the international psych scene, he has recorded, performed and toured with Beck, the Black Angels, Brian Jonestown Massacre, the Horrors, and many more. Elephant Stone has released two LPs, an EP, and has toured throughout North American and Europe. They have spear-headed the Hindie-Rock movement with their deft ability of weaving together rock’n’roll, Hindustani classical, and catchy-as-all-hell pop.