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The Hundred In the Hands (Bonus Track Version)

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Album Review

Based on the Hundred in the Hands' debut EP for Warp, This Desert, the band could have gone in two different directions for its first full-length. The duo could have gone deeper into the experimental leanings shown on some songs, or the sleek disco-pop displayed on others. For their self-titled debut, they chose the latter; Jason Friedman and Eleanore Everdell worked with pop mega-producer Richard X, among others, which explains the album’s sleeker, slicker feel, while louder guitars, the occasional live drums, and more aggressive synths add a sharper edge. This serves the Hundred in the Hands’ singles well, adding muscle to the Bloc Party-like riff of “Dressed in Dresden” and extra bite to “Young Aren’t Young”'s dreamy disco-pop. Everdell's voice is still pristinely beautiful — especially on “Lovesick (Once Again)”'s massed harmonies and “This Day Is Made”'s ghostly choruses. The Hundred in the Hands still sound most convincing on songs about emptiness: “Pigeons” and “Dead Endings” let Everdell be an ice princess crooning about vacant spaces, late nights, and early mornings over frosty synths and chugging guitars.


Formed: Brooklyn, NY

Genre: Alternative

Years Active: '00s, '10s

Named after the phrase the Lakota Nation gave to the Fetterman Battle/Massacre of 1866 in Wyoming — in which Crazy Horse led his warriors to a victory that resulted in the death of 100 white soldiers — the Hundred in the Hands fuses synth pop with post-punk and dream pop elements, making for a sound that’s equally danceable and dreamy. The Brooklyn-based duo of Jason Friedman and Eleanore Everdell balance their duties with Friedman handling guitars and beats and Everdell providing vocals...
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The Hundred In the Hands (Bonus Track Version), The Hundred In the Hands
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