ARTIST: A Thousand Hours
RELEASE DATE: 22nd July 2017
RECORD COMPANY: Vesper Records
Alaskan based shoegaze/post-punk aficionado Red Collier aka ‘A Thousand Hours’ released his latest ten track sonic opus entitled ‘Sleep’ to the waiting public back on the 22nd July 2017. ‘Sleep’ is the highly anticipated follow up to January 2017’s insanely good ‘Endless Grey’ and was mainly written and composed by Collier himself with the addition of Demi Haynes on a few tracks, backing vocals by Nadi Mack and additional arrangements, synths and drums by Saad Khan. The album was released via Vesper Records and is abvailable to buy/download right now from onethousandhours.bandcamp.com
The album’s opening track begins very brightly indeed before quickly nosediving into a mix match of genres. ‘Shipwreck’ is an EMO filled slice of alt-rock, infused sporadically with dreamy garnishes of melodic instrumentation and very precise guitar work; sufficed to say that I can’t get my head around bands covering all angles generically and it seems to be the in-thing with most bands in this scene nowadays, a tactic used not only to keep the same circle of inner scenesters happy but more often than not deployed for PR purposes to catch the ears of as many blogs, online radio fanboy podcasts and webzines as is feasibly possible. As opening tracks go however (and I have to be brutally honest here), ‘Shipwreck’ unfortunately doesn’t float my boat one bit and reminds me of those god awful mind numbing naughties era bands like ‘Paramore’ or ‘Dashboard Confessional’ although it’s one saving grace is it’s powerful vocal track. Up next ‘Christine’ shimmers on waves of ethereal joy as ‘A Thousand Hours’ redeem themselves ten fold. This track glistens on beautifully intense frequencies as it’s tumbling dual vocal lines swirl beautifully in an effervescent hue. Trembling guitar progressions ebb and flow effortlessly on subtle lines of synth and sequenced percussion, resonating brilliantly through sticky clouds of reverb all the while accompanied by some stellar music production whilst ‘A Stillness In The Moment’ is a mesmerising snap shot of late 80’s ‘Cocteau Twins’ with it’s post-punk inspired percussive attack and those beautifully intense vocals intertwined with soaring synth swells and the twang of tremulous guitar. Simply breathtaking. ‘Bleach’ ambles into the ether on a simmering cloud of droning instrumentation and jangling reverb hued guitar progressions. Sporadic percussion adds a heavy atmosphere allowing that stunning wall of vocal tracks to penetrate the gloom and drench this listeners ears in glorious sonic joy. ‘Bleach’ is another triumph on an increasingly impressive collection of tracks.
Up next, ‘The Understudy’ is instrumentally reminiscent of those seminal early 90’s stalwarts ‘Cranes’ with it’s experimental piano stabs precariously positioned on soaring lines of synth and echoing reverberation. It’s vocal lines are subdued and melancholic, weighed down by sequenced percussion and it’s dark ambient atmosphere whilst ‘Sleep Of Angels’ screams of ‘Siouxie Sioux’ with it’s breathtaking vocalisations, the thrum of bass and the deep punch of percussion intertwined with cascading synth and those swirling guitars. ‘Clutch’ soars into audible range on hazy lines of synth used primarily to drive those impressive vocals. Sparse experimental percussion clunks and bangs under the mix like some unheard track lifted from the recording sessions of ‘Massive Attacks’ masterpiece ‘Mezzanine’ as those heavy lines of synth loop and arc through catchy hook laden instrumental progressions, collectively streamlined into an impressively dreamy ambient hued behemoth. The albums penultimate piece entitled ‘It’s Rumoured’ is simply divine. Shimmering vocals absolutely drenched in reverb fizz through luscious synth progressions and jangling guitar signatures as those slow metronomic drum patterns keep a well grounded bedrock of frequencies churning underfoot. The addictive sequences of cascading keyboard keep this listener interested as they lead us to the tracks finale and on into a decent cover version of ‘Crushed’ by the fantastic ‘Cocteau Twins’. I’m not one for cover versions appearing on albums so I’ll let this one slide. You can make up your own mind on it though by listening to the album in full.
In closing, ‘Sleep’ will take a few listens before the penny drops and you realise just how good it actually is. It’s god awful beginnings eventually flower into a blossoming procession of impressive tracks that fit neatly into one another and leave a lasting imprint on the listener. Will it be in any ‘end of year’ lists? Only time will tell, but ‘A Thousand Hours’ have definitely placed themselves on the right path sonically. They just have to avoid those 90’s EMO comparisons!
ABOUT THE AUTHOR:
Del Chaney has spent the last five years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk & modern psych rock from all over the globe & reviewing them for this blog – The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm – Primal Radio – has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.