MoLD are a Hard Rock band that evokes the sound of the genre in the 70s and 80s without taking the easy path of nostalgia. Although they bring influences like MOTÖRHEAD, AC/DC, AEROSMITH, BLACK SABBATH, DEEP PURPLE and even bits and pieces of GUNS N' ROSES at times, the band has enough personality not to sound derivative as other bands in this genre do. "Horrors" is an interesting and solid album, displaying the untapped potential of MoLD in many ways.

Although a good song in itself, "Horsemen Riding" is a bit strange as an opener. Production is somewhat muddier than in the rest of the album and has a stronger Stoner vibe, which sets it apart. Vocals sound vaguely similar to James Hetfield's, especially in METALLICA's "Black Album" or "Load", carrying a gritty quality. All the instruments occasionally blend too much, yet the guitars provide catchy and memorable, BLACK SABBATH-inspired riffing.

"Love Hungry Man" is more in tune with the rest of "Horrors", with its bluesy riffing and driving rhythm, feeling like the real start of the album. It brings a Southern Rock twang, even, and the noisy production adds to its catchy aggressiveness. Meanwhile, "Long Shiny Knives" is punkier and rests on a MOTÖRHEAD-like groove.

MOTÖRHEAD is one of the biggest influences for fast-paced songs. It is also evident in the explosive "Breaking Bones" and "Roadkill", highlighted by the rhythm section with an upbeat pulse and memorable bass lines. The latter allows itself a small 16-second detour, incorporating what appears to be organ and ambient sounds, providing an almost circus vibe. "Locomotive" is another short and catchy rocker, which sounds closer to DEEP PURPLE, but without Jon Lord's powerful organ. Its bluesy riffs conjure up Blackmore vibes.

The album also indulges in a beautiful ballad as well as some mini-epics closer to Prog or Psychedelic Rock. "Hush Now" builds upon clean guitar arpeggios on a slow 6/8 with a melody that sounds close to "Unchained Melody" at times. Vocals sound rather uncomfortable on the lower notes, but the highs are impeccable. The very emotional guitar solo is simply beautiful.

The title track is the most progressive song of the first half of the record, making the most of its long instrumental introduction. It serves as a crescendo to an explosive entry of the vocals, right in the middle of the tune. It has a more Alternative Rock inspired sound, and employs vocal harmonies and a hypnotic bass line to generate tension and release.

Bridging the two halves of the album is "Black Forest," the longest song, lasting a little over seven minutes. It is a very dynamic song, with several changes of tempo and tone, moving between more melodic and soft sections, and more aggressive and rockier ones. Drums stand out, providing a backbone to its changing structure. It feels very jam-like, in the best possible way.

The album ends with "Rock n Roll Monster" and although it is an uplifting and adept closer, it feels more like an epilogue or an afterthought following the mini-epic "Mischief and Disbelief". The second to last song would have been a great closer with its Southern vibe. Its cleanest sections have a twangy, countrified sound, which brings to mind images of the desert. The soloing is very LYNYRD SKYNYRD-inspired, while the vocals have a noisy effect that perfectly accompanies the mood of the song.

The rhythmic section is tight, the vocals have enough diversity to keep the attention and various influences are incorporated without appealing to nostalgia for the sake of it. Guitar work is very rich, and the production highlights the instrument to a great extent. All in all, "Horrors" is an enjoyable and accessible album in which MoLD show their potential.