Home > Reviews > Album Reviews > The Hundred In The Hands – The Hundred In The Hands

The Hundred In The Hands – The Hundred In The Hands

Nichola Eastwood


The Hundred In The Hands gave themselves quite a challenge in following up brooding debut EP, This Desert.  With their minimalist electronic rock like a hybrid between Bats For Lashes and The Yeah, Yeah, Yeahs, this initial effort gained the pair critical acclaim and a dedicated following.  Expectations then for the self titled LP are daunting, to say the least.  However, the Brooklyn duo are far from scared off by the challenge and the result is possibly one of the finest records you’ll hear this year.

Opener Last City is a thumping kick start, Jason Friedman’s guitar sneers and spits its way through the chorus alongside Eleanore Everell’s crystal clear vocals.  It’s exactly the distinctive, moody brand of rock that THITH do best.  Irresistibly catchy it’s sure to become a favourite. Fans will already be familiar with the brilliance of Dressed In Dresden and PigeonsPigeons is a sweeping bout of whimsical electro, largely carried by Eleanore’s haunting vocals.  Dressed In Dresden is possibly the best track on the album, an addictively menacing riff alongside Eleanore’s voice which takes on a laid back, can’t be bothered quality.  It’s an attitude heavy run through by a pair who are clearly confident and sure of their sound.

Gold Blood sees Jason’s guitar take on a heavier and rockier feel with Eleanore’s siren like vocals breaking over the top, commanding us to dance.  The track climaxes in an eighties-esque electronic crescendo, it’s the perfect example of how the moody twosome refuse to inhibit their sound, rather letting it wander and end where it may.  Dead Ending continues the nostalgic feel evoked in Gold Blood, with a riff that’s reminiscent of The Cure and a sound that harkens back to the eighties darker, gothier moments.

This Day Is Made is the most melancholy moment on the album so far.  A ghostly, echoing track it can only really accurately be described as beautiful.  Commotion starts with a riff that sounds like something the Editors could have quite happily concocted, it’s a melodic gem completed by Eleanore’s razor sharp wails. Killing It sees Eleanore almost whispering the lyrics, alongside a lullaby of unearthly synthesised guitar and electronics.  Closing track Young Aren’t Young is a spaced out minimalist techno number.  It’s a dance like end to an eclectic and diverse debut album.

THITH have not just met the standards set out before them but by far exceeded them, creating one of the musical highlights of the year.  The only problem the duo now face is topping the expectations that will surely hound them after this debut.