Dark, rhythmic, and bordering on evil.
Presumably that was the sound that 'Hail Lucid State' was trying to capture.
With Death In Vegas' Richard Fearless on production duties, this second bite of the black cherry rapidly bears down upon the release of Dark Horses' debut album just last year, and with ten tracks that clash a very British penchant for doom-laden gothic pop in the style of The Cure headlong into a swirling whirlpool of psychedelia, cascading beautifully into an abyss of bleak hypersensitive bliss, then why wait any longer to unleash more of your tainted jewels upon your adoring public?
Whilst the cold, sparse electronica of 'Sevens' poses a clear indication of why Crystal Castles chose to sign Dark Horses to their Last Gang Records imprint, it is the rest of the album and the reverb drenched echoes of Siouxie Sioux cavorting with Kate Bush against a backdrop of roots rock and guitar riffs that would resonate with fans of The Cult that show why names such as Tame Impala, Kasabian, Sigur Ros, Black Rebel Motorcycle Club, Noel Gallagher, The Dandy Warhols and Beck have all seen something within Dark Horses that they identify with and felt fit to invite them out on tour as handpicked guests.
It is at a meeting point between all of these bands that 'Hail Lucid State' exists, surely anyone that has caught Dark Horses on one of their numerous support slots for the aforementioned acts will have been mesmerised by the bands wide-ranging scope, and yet it is these numerous touchstones the band evokes that will also be winning them new fans, not only amongst audiences but amongst touring artists, and also amongst a record buying wider fanbase if there is any justice left in this crazy, mixed up world.