A Thousand Hours - Sleep - Featured Image - (700x700)

ALBUM REVIEW | A Thousand Hours - Sleep

A Thousand Hours - Sleep - Post Image - (300x300)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!







Del Chaney - (Author Photo)

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.

ALBUM REVIEW | A Thousand Hours - Endless Grey

ARTIST: A Thousand Hours

RELEASE: Endless Grey

RELEASE DATE: 17th March 2017


It was way back, way way back, in the early days that the slow but powerful shift of alternative music began to sweep the underground, from four chord punk, coming from either side of the Atlantic, to the somewhat alien sounds of what would later be determined as ‘post-punk’. Of these early post-punk bands, there was a much darker and ‘heavier’ sound. Songs consisted of baritone moans and screeching guitars, drum beats that many amateurs could play and thick bass lines. Funnily enough, skip forward a good forty years or so, and this is the sort of stuff you’re hearing on 'Endless Grey' by Alaskan based 'A Thousand Hours'. Dark, somewhat challenging but always tactically engaging, A Thousand Hours round up many of music histories greatest tricks and turn them into their own creation; churning out a heavy, tight and unique sound in the process. 'Endless Grey' is available to buy/download right now from onethousandhours.bandcamp.com

The album begins with the title track; a slow, yearning and distant piece of alt-rock/post-punk. The vocals remain husky for the songs duration, reaching a beautiful tone that syncs with a dizzying guitar on the chorus. The drums beat slowly to keep things going and a fantastically subtle piano is played deep underneath the music; just enough to sound as important as everything else in the mix of the tracks. ‘B’ follows in a darker tone, opening with the rustle of industrial sounds and what sounds to be the pluck of a harp, before the sound of French coldwave pours in; a great riff that hums through to the listener and the somewhat down trodden drumming accompanies muddy, challenging vocals in a collage of veiled beauty. Again, A Thousand Hours use the high keys on a sharp piano underneath everything. After several listens ‘B’ stands as a true album highlight; capturing everything so grand about what can be created with post-punk music. ‘Ship’ opens with an overtly post-punk bass tone, followed by the slow rattle of the drums. The vocals on ‘Ship’ are much more present than previous tracks; an element I think doesn’t pack as much of a punch for the band. The chorus still soars though, and one can feel an undercurrent of dream pop within the instruments, especially the guitar. ‘Moments’, a mesmerising soundscape filled wave of genuinely fantastic music creation furthers this touch of dream pop and adds another layer to it by again utilizing the wonders of slight, simple piano playing.

‘Tender’ returns again to the desolate, stripped back post-punk sound explored on the opening part of the album. It’s simple guitar strums drown out the FX’d vocals over and over again and the chorus passage of music showcases the lead vocals by flying them higher in the mix to again accompany the guitars. The almost minimal musicality in the song fits perfectly with the lyrics, that seem distant, dreamy and confusing all at the one time. An interlude follows, entitled ‘Hold’ before unleashing the next track ‘Down’, which also shines brightly as an album highlight; its soothing sounds drift again into the realms of dream pop. The slow strum of an acoustic guitar backs up a glowing synth like sound and the much more present but rewarding vocal tones. Its place as an album highlight is due to how wonderfully all the instruments are melded and linked together. ‘Flood’ is another great song, that slows thing down again; touching on points that showcased the bands talent in the first half of the album.

‘The Desolate Hour’ is one of the most stripped back songs on the entire release, but it again deploys many tropes associated with dark, alternative post-punk music to form into another stellar gathering of music. The entire song lives up to its title; the music never truly reaches out of the conceptual sludge it has decided to sink itself within; capturing the sound of drowning through a musical language that’s both engaging and wretched. Perhaps the deepest depths of the dark, claustrophobic post-punk caverns that A Thousand Hours dwell in is the almighty ‘Rainy Days’ that centres around a deep, heavy vocal lead and slow, thick, sludgy music that at the same time somehow sounds thin and slight at the same time. It’s weary and deep sound captures a movement that the band seemed to be taking slowly over the course of Endless Grey, as the title would suggest. ‘Closure’ is a guitar-lead instrumental track that churns out an almost danceable tune to counteract the tracks before it, but it remains within the stylistic elements of the album and its sound.

'Endless Grey' is as close to its title as it can get; darkness and a heel dragging tempo carries many of the songs around, dragging them behind on a metal chain of slow, heavy sounds and passages. There are the occasional tracks where the band take their foot off the accelerator and present a brighter, more upbeat dream pop influenced song. But for the most part, they remain within the parameters of classic coldwave; especially on the albums second half through the string of songs like ‘The Desolate Hour’, ‘Rainy Days’ and ‘Flood’. For this reason, some won’t fancy setting off through the journey of Endless Grey, and others may find it’s 11 track haul a lengthy one. But I ask you to indulge in it. It’s brilliance shines in its stylistic choices and its tense, yet loose performances. Altogether it is an immensely rewarding listen from a band who know exactly what they want. Where many bands in this area of alternative music tend to release five or more song releases with tracks that sound completely different from one another, A Thousand Hours stick to their conceptual guns and showcase 11 songs that stick together but remain fresh for the listener over the course of the album. Post-punk is in good hands, I suppose, is the moral of the story… And those hands have been used wisely here; to create a piece of music that shines in almost every aspect; especially song writing, performance, production and sound.






Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on Baeble Music and Culture (USA), Sounds and Colours Magazine (Latin America, London), Easterndaze (Latvia) and the Australian based heavy music blog, I Probably Hate Your Band.

NEW SINGLE PREMIERE | A Thousand Hours - The Desolate Hour

Dreamy Alaskan slowcore trio 'A Thousand Hours' have released a stunning debut single entitled 'The Desolate Hours' to the masses, highlighting their forthcoming full EP penned in for release this February or early March 2017. Their collective sound swirls brilliantly through almost ethereal sonic projections underscored by fleeting waves of shoegaze inspired instrumentation. The band are made up of Red Collier - vocals/guitar, Demi Haynes - vocals/guitar/bass & Albert Gresens - guitar/bass and 'The Desolate Hours' single is available to buy/download right now from onethousandhours.bandcamp.com

'The Desolate Hours' is centred around a repetitive guitar line, spinning through layers of reverberation, followed in close proximity by sparse percussion and the graceful hum of bass frequencies. The vocals float effortlessly along held fast in a kind of sonic gravitational pull with the instrumentation and brilliantly echoed at times by hauntingly good backing lines. Deeply melancholic and highly infectious it only bodes well for the full EP release going forward.