Album Review: Options

Horn is the alter ego of Abigail Macilquham, based in Wellington. They’ve been building a presence in the scene, and have recently been “highlighted by Rolling Stone AU/NZ as one of Aotearoa’s up-and-coming artists” (quote from artist bio). Options is their second album, with a third (followed by a nationwide tour) in the works.

The first track is Clever, where two distinct guitar parts juxtapose a sweetly mellow riff with fuzzed-out divebombs and vibrato. The riff becomes more simplified and chuggy in the mid-section, before circling back to the intro riff with the same energy. There’s a more sombre feel to Coketown, at the beginning. Rebekah Leah’s bass playing is a star feature on many of these songs, and this one is a great example, the bass has a large and tasteful presence. The heaviness of the beginning lifts and dissipates, as the song progresses.

Spider is the album’s shortest track at 2:13, and has a delectably danceable feel, a superbly crafted shot of indie rock with contrasting dynamics suitably complementing each other. Next up is the album’s longest track at 6:57, Medicine. It starts with a darkly haunting a cappella vocal harmony, soon joined by a solid and driving bassline that blooms into a big, washy feel, wide open and huge. The dynamics ebb and flow like water, some interplay between the guitars takes over in the mid-section, lots of fuzz, feedback, and tremolo layering the colours. The primary riffery returns in the closing minute of the track, with one last chorus leading it to its end.

A lilting and languorous feel is introduced with another brilliant bass line on Meeting. This track rocks & rolls from side to side, as it wanders along amongst its own subtle beauty. The mid-section has a sharper feel, increasing to a crescendo before releasing back into the original feel. Pwcca isn’t completely dissimilar to Meeting in its tempo and rhythm, but it’s a little more stripped back in its musical layers. A quick, punky sonic burst explodes out of nowhere, and swiftly disappears again as if it had never been. The track meanders wistfully along afterwards, an almost lullaby-like atmosphere, until the explosive moment again bursts through, softening once more at the close.

Red Shadow comes in sparse and solemn, an almost funereal lament. The production initially gives an air of antiquity, as if the track were recorded a long, long time ago, a deliberate move which is exquisitely suited to the track’s energy. The last minute of the 4:30 duration takes a decidedly different turn, morphing into a glorious moment of raucous guitar expression. A resigned-sounding sigh kicks off Stunt, an atmospheric Post-Punk track with some artfully melodic guitar work, the second half boasting some gutturally raw and passionate vocals. Final offering Quarterback Captain is slow and spare, but with a boatload of snotty attitude. An abrasive mood, harsh and bleeding, it is not a comfortable song. A powerful end to a stunning album.

This is an album of many colours and moods, contrasts of light and dark. Guitar nerds would do themselves a favour by checking this album out, there are some absolutely lush tones, and Horn’s approach to guitar is uniquely voiced and creatively artistic. A strong album that hints at even greater things to come