I’ve been a fan of Hollow Horse since the early 2000s, having first discovered them through a podcast. Like me, the band took an extended hiatus, returning in 2023 with a comeback release just as Indie Launchpad was undergoing redevelopment, making it an obvious choice for one of the early reviews. In conversation with the band, they hinted at another album, and by mid-2025, Five had arrived. Reviewing is an imperfect science, but suffice to say, here we are.

The album opens with a short track, just over a minute long, that serves as an effective introduction. Its sound is clearly influenced, at least in part, by The Beatles’ Revolution 9, giving the listener a playful and experimental foundation on which the rest of the album builds. It ends on the race track along with ambient noise.

The next track, “How You Look at Things / Through the Lens of Time”, opens with a brief keyboard segment before being joined by strong acoustic guitar and Kenny’s unmistakable vocals. It’s remarkable how little his voice has changed since I first discovered the band. Another notable change is the production, which feels far more cohesive than before. Listening closely, I found myself scanning the varied elements and appreciating the track as a unified whole, something I hadn’t fully experienced with their earlier work.

"Burning the Paper" opens with a decidedly edgier sound, combining guitar, a thumping drum track, and trumpets. It initially leads the listener down a different path, but when the vocals enter, they steer the track back toward the classic Hollow Horse sound. The earlier elements remain present throughout, but they’re balanced by the vocals, creating an engaging and dynamic interplay.

It’s funny how a track title sets up expectations. "I Died for You Once" began with a church organ, perfectly matching the image I had in mind, only to flip into a more acoustic-driven arrangement. The lyrics are darker, yet there’s a sense of release, or perhaps maybe indignation, that gives the track its emotional edge.

I wasn't quite sure what to expect when the almost ethereal vocals started on "You Are the Universe", joined by sparse guitar accompaniment, but then an acoustic guitar melody takes over and again it takes the song in a different direction to what's hinted at by the opening. I'm still getting used to the introduction of female vocals, not that they're a bad thing, just something different. When you're used to one sound, it can take a while to get used to change. I think here they fit beautifully and again this is a track where the production is again great.

As "I Generate Joy" opened, it felt like being hit by an 80s flashback. I could hear echoes of Michael Jackson, Duran Duran, and even a hint of Bow Wow Wow—a real 80s cocktail. Musically, it channels that era, and vocally there are subtle nods, one of them reminiscent of Talk Talk. For me, it was a curious track that triggered other 80s memories, and despite my initial knee-jerk hesitation, I actually really enjoyed it. The added vocal curio at the end was also a nice touch and at first I thought a different artist's track had started to play.

“Steal the Starlight” brings a more relaxed, laid-back vibe, built around a simple arrangement and understated vocals. I particularly loved the sax segment in the middle, which adds a lovely touch. While it could easily serve as an album closer, it also provides a reflective pause within the record, giving listeners a moment to breathe and pause for thought.

“Who Misses Out the Most / Ice Nine” opens dramatically with a crash of piano followed by a heavily synthed keyboard bass line, and I wasn’t quite sure where it was heading. When the vocals enter, they provide a touch of familiarity, but the synth bass continues to bubble underneath, giving the track a distinctly unusual vibe. A trumpet solo in the middle adds to the sense of unpredictability. Perhaps “strange” isn’t quite right, but the track feels experimental, almost cinematic. It then takes another 180-degree turn, closing with around 40 seconds of ambient electronic noise. Unconventional, surprising, and definitely memorable.

And we’re back to the 80s with "The Fire Is Worse Than the Fall", opening with a Howard Jones style keyboard intro. Once that fades, the song begins to find its own voice. The keyboard remains, but is used subtly, supporting rather than dominating. It’s a short track, yet it leaves a surprisingly strong impact.

I couldn't help but be reminded of Dire Straits "Your Latest Trick" when "For Every Fall There is a Rise" starts, with it's trumpet intro. However, I have to admit I didn't like the opening vocals, but as the song continued, the vocal style changed to something a little more conventional, but the former style does return. For me there's just something with this track that doesn't gel. It has a lot of different pieces, that I feel just don't work together.

I love the bright acoustic guitar that opens "All My Friends". Compared to some of the other tracks, it’s simpler and more conventional, but that simplicity works in its favour. Sparse synth keyboards and what sounds like a Rhodes piano appear occasionally, providing tasteful accents without overwhelming the arrangement.

"Twice as Good and Half as Bad" continues the simpler approach, this time leaning more heavily on piano. Subtle trumpet lines add a complementary flavour, while Kenny’s strong vocals are enhanced by tasteful female accompaniment, enriching the overall texture of the track.

The final track, “The Final Furlong”, returns to the sounds of the race track and its associated ambient noises before shifting to the simple piano melody that opened the album, ultimately fading to black and providing a satisfying sense of closure.

The record blends experimental touches, 80s-inspired flashes, and classic acoustic-driven arrangements, creating a dynamic balance between familiarity and innovation. The production feels cohesive, allowing both instrumentation and vocals to shine, while occasional female vocals, synth textures, and brass elements add depth and variety. Throughout, the band demonstrates a strong sense of musicality and emotional range, moving seamlessly between energetic, cinematic, and reflective moments. The result is an engaging, multi-layered album that rewards repeated listening and highlights the band’s continued evolution. For me there are some tracks I'm still not fully sold on, but who knows what additional listens will bring. That being said this is another cracking release from the band.