When The Horrors last played Adelaide, it was as part of the 2012 Laneway Festival roadshow.
Fourteen years later, a reconfigured band line-up has returned to Adelaide at Lion Arts Factory (14 April).
The supporting act on this occasion is the provocative, art-noise group G.U.N – apparently an acronym for GALVANIC. UNAPOLOGETIC. NOISE.
A striking figure in sunglasses, a pale blue slip, knee-high heeled boots and long blonde wig (Nathan Dick) walks along the photo pit, fronting up to the audience along the barrier before stepping onto the stage, letting out a yelp and then a roar.
He then commences a performance of almost wordless preaching drowned out at times by comrades Roberto Kialc on guitar and Frxci Murphy on bass.
They both (equally) tinker with electronics, maintaining a droning musical backing of echoing minimal infinite guitar, bass and programmed beats that transforms into a predominantly machine-gun-like percussive exercise.
Mid-performance the slip is discarded although the glasses, boots and pantyhose remain while Nathan tells us it's their first time in Adelaide and their last stop on the tour.
Their performance is an aural assault and visual spectacle; they certainly make an impact in their allocated introductory half hour.
'Silence That Remains', which opens The Horrors' latest album 'Night Life', is the first song they play, commencing the set strong before a performance of 'Three Decades', a song frontman Faris Badwan has credited as a bridging the gap between their primal early releases and the more polished sound they have delved into on occasion.
Early in the performance, the band continue to alternate between songs from 'Night Life', released nearly a year ago, and their second album, 2009's 'Primary Colours', which they've acknowledged as a first proper album after their makeshift debut, 2007's 'Strange House'.
With his skinny frame adorned by a tactical vest, Faris violently dances with his microphone stand, the lead wrapped loosely around his arm.
The mic stand is an essential prop and when he's not leaning on it, writhing and contorting in time with the musical accompaniment, he comes across as though he's steering a ship nearly out of control.
To his left is the steadfast Rhys Webb on bass, the only other remaining member of the original line-up. Further left is Amelia Kidd, sequestered behind a keyboard set up away from the dynamic physicality of the rest of the band, providing occasional complementing vocals.
On the right, newest member John Victor on guitar bounces around his third of the stage. At this point we're able to see drummer Jordan Cook, but it won't be long before he becomes progressively obscured by theatrical smoke.
It's not until after a handful of songs that Faris addresses the audience between songs with a simple "thank you" before the voice and percussion exercise that is 'The Feeling Is Gone' slowly develops into some kind of goth spaghetti western theme by the end.
'Sea Within A Sea' is The Horrors through a prism of pop, signifying there is a change of gear in the second half with performances of 'Endless Blue' and 'Still Life' from 2011'a 'Skying'.
Between these songs, a fire alarm goes off that at first appears to go unnoticed by the band who play on until after they finish 'Still life' when Faris comments: "The fire brigade should be here in a minute so enjoy it while you can."
When someone calls out: "They're already here," Faris responds: "I'd like to borrow one of their vests."
'Ghost', with its opening funeral organ and John's intrusive guitar, is perfect to soundtrack Faris' interpretive goth ballet, again intimately partnered with his mic stand after having placed it aside for a sequence of songs.
The driving accessibility of 'LA Runway' precedes Faris announcing "this is 'Who Can Say'," as though it is an untitled song, and they play this last song before leaving the stage.
The programmed industrial ambience of 'Lotus Eater' opens the encore before drummer Jordan returns for the final missive from 'Primary Colours', 'Scarlet Fields' during which Faris takes the opportunity to contribute to the light show with his green-laser pointer glove.
Their set is completed with a transcendent gritty coda of 'Something To Remember Me By', during which Faris discards his mic stand for the last time with finality into the photo pit.
The lyric is a fitting sentiment with which the band complete their first Adelaide show in over 14 years, Faris promising they'll be back soon.
