Along with Black Rebel Motorcycle Club, The Raveonettes, Glasvegas, and The Kills, the Brighton, England–based Dark Horses are adding to the canon of hypnotic, distorted guitar rock that’s cooler than a '50s motorcycle gang. Following the opening sonic mantra, “Rose,” the heavily delayed “Radio” breathes new life into '90s-ish shoegazing. Lisa Elle's wispy voice hovers, ghost-like, over an orchestra of Slowdive-style guitars plugged into a seemingly endless daisy chain of effect pedals. The song's end even features a wah-wah pedal turning amp feedback into squealing waves of noise, à la Swervedriver. This isn't to say that Dark Horses are dream-pop revivalists. “Alone” deviates from the Thames Valley blueprint with meditative beats and electronic flourishes before what sounds like analog modular synthesizers layer coldwave keyboard tones over “Boxing Day.” With the lulling “Sanningen Om Dig,” Elle sings self-harmonies in her native Swedish over slowly pulsing drones of guitar-tweaked ambience. Dark Horses change the album’s somber mood with a cover of Talking Heads’ “Road to Nowhere,” turning the new wave gospel tune into a dream-pop hit.