The timeless goth band have come a long way from 2007 and the release of their spiky debut album, Strange House, which was a feral, garage-punk nightmare. Night Life, their fifth studio album, sees them refine the sound more, but still feels as crepuscular as the title would imply.

Contrasts are why it works so well. It sets out its stall early with ‘Ariel’, a twinkly synth-pop song which mines the best parts of the eighties. There’s Bowie’s ‘Loving The Alien’ or Soft Cell’s ‘Bedsitter’ in Faris Badwan’s half whispered vocals, seductive and inviting. It’s at once neon bright and darkly ominous, lurking in that liminal space between sleeping well and night terrors.

Indeed, taken as a whole, it’s a cinematic road trip, equally befitting John Hughes as John Carpenter. Imagine Ally Sheedy as Allison in The Breakfast Club had she not bonded with her peers but, rather, gone rogue and driven off into the evening with murderous intent.

‘The Feeling Is Gone’ is a personal favourite, all fragmented slices of darkwave, stately paced with lyrics about post-separation anxiety. ‘Lotus Eater,’ meanwhile, tilts towards a dystopian Kraftwerk. Only the closing track, ‘LA Runaway’, is a disappointment; too glossy by half and as a result, a bit compromised.

The Horrors truly excel when their music treads an insidious path. For the most part, Night Life is an intoxicating, beautiful ride into the unknown.