Chaos Brings Order - Horns

More chaos than order

The flat production and a generally muddy sound that irks me. The Horns have some decent ideas and fine intentions, and the band's energy and obvious joy of playing makes on his show also Chaos Brings Order to a quite decent debut, if only the sound had been in order. It is not, and it pulls them down.

My relationship to the band ends, however, not here. I don't doubt for a second that the with the energy they put in for the day, is much better on a scene and, therefore, has to be experienced live rather than on record. And I wonder if the sound is fixed for the next time? I hope it is. The band fails the not anything.

Smooth debut exposed to dirt production


Chaos = order?

The first time the world became acquainted with the copenhagen quartet of Horns, was when they released the EP let Me See Your Horns back in 2016. Now the band is ready with their fuldlængdedebut, who has been given the name of Chaos Brings Order. It is one of the kind of slices that really could have been ok, but unfortunately it did not.

Decent band – terrible production

We start right with the most important, namely the music. The Horns play a genuine game of hard rock without various frills and weird fluctuations. It is straight on and hard, for the most part appealing and very easily accessible, which åbningsnummeret "Pale Blue Light" with his cool riffs immediately testify, when you fire the plant. "Unspoken", "Salvation" and "Forging Fate" is also fine intersections, where the band's good ideas and intentions clearly reflected, and even if none of the disc's ten tracks write themselves into rockhistoriens old dusty records as modern nyklassikere, the band has a fine energy and a steely determination to rock everybody's necks of the led.

It sounds really very good, you're probably thinking, but no – it is exactly the dog is buried. The band plays excellent, but the plate sounds, quite simply, not very good.

It is the gentlemen Cato Jørgensen and Niclas Sonne, who has produced the record, and I must admit that I am surprised of the outcome. First and foremost is that frontman Oliver Svensson, who, in spite of the fine phrases, is not the world's most gudsbenådede singer – especially in the high end of the register – but it makes him certainly not better, that the vocals seems incredibly compressed and utterly dry.

Then appears the music is not particularly tight. Utight rock may well have its charm, if only the dynamics are in order, but it is unfortunately missing also in big parts of the plate – mainly because of the flat drums and a guitar and a bass that flows together and contend with each other to get space in the middle of the soundstage. Preserved, Jørgensen and Sonne has made some exciting action with regard to panning, balance and reverb, but compression and overall EQ to get the record to sound like a one-take made by a højskolemusikhold.


>> Check the songs and lyrics here