IN an age where the motives of bands are often called into question, the musical intent of the Horrors has never been more certain.

“We want to alter people’s minds with music,” states bassist Rhys “Spider” Webb.

“The psychedelic leanings have always been there.

“We believe there is a feeling conjured up by listening to certain music, and we want to create that music.”

Just what that feeling is, is probably best defined by the listener, yet among music industry workers and critics it is one of widespread acclaim.

In July, the band picked up a Mercury Prize nomination for their second album Primary Colours, a collection of fuzzy, bass-driven garage songs, released earlier this year.

The award nomination is a vindication for the five-piece, three of whom – drummer Joseph Spur-geon, guitarist Joshua Hayward and Rhys – hail from Southend or Canvey.

“I think it’s an up-yours to anyone who thought we weren’t serious about what we’re doing,” says 26-year-old Rhys.

“It’s amazing to be up there with the top 12 albums of the year.

“As a band, we think it should be, as we believe we have made a great album.”

Produced by Portishead’s Geoff Barrow, Primary Colours marks a progression from Horrors 2007 debut album, Strange House.

“The first record was us trying to capture that energetic, fuzzy punk,” admits Rhys.

“After two years of playing together as a group we didn’t want to recreate that, we wanted to take it somewhere else.

“We are the classic punk story of getting together and playing what we could, but the second record is an evolution of our group.

“Sonic exploration and messing around with sounds is what’s important to us.”

Yet despite the glowing reviews, there was no direct attempt to make a more commercially appealing record, according to the bass player.

Rhys says: “We didn’t intend to make a more accessible album. We actually got dropped by Universal.

“We signed with XL Recordings and they said just make the next Horrors record whatever it will be.

“In the end we thought it was a great record and hoped people would feel the same.”

With three fifths of the band growing up in south Essex, it’s clear the area’s music scene was influential in shaping their sound.

As an avid collector of obscure garage records, Rhys spent much of his youth scouring local vinyl shops like Carmel Records, in Westcliff.

He later decided, along with friends Oliver Abbott and Ciaran O’Shea, to set up alternative night Junk Club, at the Royal Hotel, in Southend High Street, to share his finds.

Launching in 2001, the club night became an underground success, attracting legions of fans and new bands, and was the birthplace of the Horrors, after singer Faris Badwan and synthesizer player Tom Cowan came along.

“When we first started we didn’t know anything about putting on a club night or throwing parties,” recalls Rhys.

“But we searched out records to play and friends from bands like Neil’s Children and the Violets came down, and we started our own little scene.

“It turned out to be the only place you could hear those new bands.

“There has always been a really strong music scene in Southend – it’s diverse, with passionate listeners and enjoyers of music.”

But does the band’s recent commercial success conflict with their cult origins in the basement of a Southend hotel?

“For us it’s about communication,” says Rhys.

“It would be ignorant to deny playing our music on a massive level and we are not arsey about keeping it underground.

“The important thing about us, is we are passionate about music and the Junk Club was all about that.”

The band have been playing relentlessly over the summer, including three prestigious New York dates with industrial rockers Nine Inch Nails, and will continue to tour until January.

New tracks have also been laid down in the studio and a single could be released later this year.

The Horrors currently have the bookmakers’ third best odds to take home the Mercury Prize, sitting behind artists like Florence and the Machine, Kasabian, Glasvegas and Bat For Lashes.

“I think it would be amazing to win,” Rhys says.

“British guitar music has been somewhat boring recently.

“I think it would be a great recognition of classic guitar music.”

The winner will be announced on Tuesday.