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Single Review: The Hundred in the Hands – Commotion

By on Wednesday, 13th October 2010 at 12:00 pm

The Hundred in the Hands from Brooklyn are releasing their second single ‘Commotion’ on 15 November. It’s taken from the duo’s self-titled debut album released in mid-September. The beats are massive and fun to dance to, and wow, it was so amazing to hear live in Philadelphia and Boston.

The more I hear Eleanore Everdell’s voice, the more I am in love with her delivery. There hasn’t really been a good female singer for dance music in a while…I’m thinking Donna Summer. And there is a fragility and vulnerability in Everdell’s vocals that stands in compelling odds with the dancey instrumentation in ‘Commotion’. There is word that a promo video has been filmed already for this song, done by the same director who filmed ‘Pigeons’. So look forward to that as well.


The 12? of ‘Commotion’ to be released on 15 November features a non-album edit mix of the track, mixes by the illusive duo Tiger and Woods and DFA Records’s Capracara, plus a brand new unreleased track called ‘Aggravation (La La-La La)’.


Live Review: The Temper Trap with Delphic and the Hundred in the Hands at the House of Blues, Boston – 29th September 2010

By on Monday, 4th October 2010 at 2:00 pm

You’re probably wondering why I’d bother writing a gig review for the second night on a month-long tour featuring the Temper Trap with Delphic and the Hundred in the Hands as support when I’ve already written up the first night, as the experience at each American venue on this tour is pretty much the same, right? Wrong. I was once asked by a London friend if there was really a difference in accents and personalities in people from Boston compared to those from New York or those from Washington. Without a doubt.

Similarly, you’re going to get a different gig experience depending where you see a band. And venues themselves are different by nature of different clientele, different layouts, different lighting and even different beverage options (though I do not detail the last item on that list in this review, because I was too busy covering the show to drink).

So in this review, I’m going to compare and contrast Sunday’s show in physical and gig attributes at Philadelphia Trocadero with the Wednesday night one in at Boston’s House of Blues.

Physical attributes
1. Size – Trocadero: 1200. House of Blues: 2400. Winner: Trocadero. Definitely the more intimate experience. Would have been better if the stage wasn’t that high though.

2. Layout – Trocadero: floor plus one shallow balcony, bar is upstairs way in the back. House of Blues: floor plus 2 expansive balconies, bars on both sides of the floor. Winner: House of Blues. I don’t want to have to leave my good spot at the front to go on a completely different floor to get my alcohol and stay there, because who knows if I’ll ever be able to get back to my spot. However, if it were my favourite band, I’d just forgo alcohol to stake my spot in the front.

3. History – Trocadero: historic building, used to be a famous burlesque theatre. House of Blues: was built on the smoldering razed remains of two smaller clubs. Winner: Trocadero. Because people’s favourite small venues weren’t destroyed to build it.

4. Sound – Trocadero: muddled in places, which caused problems for the Hundred in the Hands and Delphic, not as noticeable with the Temper Trap. House of Blues: bigger speakers, so overall sound was louder and booming. Winner: House of Blues. You can’t compare a world-class venue with a tiny theatre, except for intimacy.

5. Beauty / ambience – Trocadero: pretty bare bones with some nice old-fashioned moulding. Hot as hell. House of Blues: neon lights and well-lit bars. Nicely air-conditioned. Winner: House of Blues. I could breathe and enjoy a beautiful venue.

Gig attributes
6. Audience – Trocadero: front row standing was stock still for the entire show, disappointing. Second row and beyond behind them, absolutely amazing energy, even for the two opening acts they’d never heard of. House of Blues: a little stiff until close to the end with the Temper Trap. Maybe they were just being respectful and acting like normal Bostonians at a HOB show? Dunno. I heard the previous night with Jason Derulo was mental though. Winner: Trocadero. Mostly for the people who really gave the Hundred in the Hands and Delphic a chance and found out they were great!

7. Sets – Trocadero: a little birdy told me the opening acts did not soundcheck here, so with that information, the Temper Trap deserve a handicap. House of Blues: sets were identical except that Delphic added my favourite song, ‘Submission’, to the mix. Chalk up rustiness from not playing it since Bestival a couple weeks prior but the vocal key for the song seemed off and overall it seemed a wee tentative. But all three bands were definitely more confident in Boston compared to Philadelphia. Winner: House of Blues, by a hair. Because I think the bands had more energy here.

Overall band winner
I have to give it up to the Temper Trap. They look the part and sound great. I talked to guitarist Lorenzo Sillitto after the show and told him I thought they really should be playing arenas with their amazing show and he said that the trick was for them to write and record their second album and use that to tour the arenas. All I can say is, we will be waiting. Impatiently!

Set lists and additional photos are under the cut.

Continue reading Live Review: The Temper Trap with Delphic and the Hundred in the Hands at the House of Blues, Boston – 29th September 2010


Live Review: The Temper Trap with Delphic and the Hundred in the Hands at the Trocadero, Philadelphia – 26th September 2010

By on Tuesday, 28th September 2010 at 2:00 pm

It is indeed something truly special when the stars align and allow the beleaguered blogger to see not just one band, not two, but three that she adores. I got that chance Sunday night at the Trocadero, a historic former burlesque theatre in Philadelphia, with The Temper Trap as the headliner and Delphic and The Hundred in the Hands providing support. Punters that had assembled for the long queue outside the venue before doors knew next to nothing about the opening bands and maybe knew the Temper Trap well or somewhat vaguely. Not a great start. But once inside, I managed a second row vista, perfect with the Trocadero’s far too high stage for such a smallish club. I met some very devoted Temper Trap fans who needed some background on the other two bands, which I was happy to provide.

Regular readers of TGTF already know I think the Hundred in the Hands’ debut album released last week is fantastic. Live, I was pleased with their performance and how they sounded. For most of their set, lead singer / synth player Eleanore Everdell sang into a pod-shaped microphone and was ‘buckled down’ to where her synth was. I reckon she’s got so much rhythm within her, she’d make an amazing dancer onstage (think Friendly Fires). Jason Friedman’s guitar riffs added punch to ‘Last City’, which is rapidly racing up my list of current favourite tracks. I was hopeful that ‘Pigeons’ would get people dancing. Well, there were some people dancing – myself and my new friends in second row. The people in front of us looked bored for pretty much the entire night, exanimate. Kind of frustrating I suppose given that the Hundred in the Hands aren’t exactly mainstream in America yet.

Same goes for Delphic, who in my opinion fared far better in the opening band popularity contest (despite drummer Dan Hadley nearly deafening the early assembled crowd testing his drum kit on ‘Doubt’). A bloke next to me who’d shown up specifically for them showed me a clipping from NME where the band was lying on the floor, looking uncomfortable in leather (you know the one I’m talking about, I bet). Besides myself and him, I think we were the only ones who’d ever knowingly heard a Delphic song before.

I was hoping they’d play ‘Submission’ for personal reasons but when you’re an opener, you have to pick and choose the best from what you’ve got to play, and I think they chose all the right ones to pick up the energy in the crowd. ‘Red Lights’ concluded with an extended synth-laden outro that got the crowd cheering. The sheer magnificence of ‘Counterpoint’, with a steady build-up from the resigned lyrics to the incredible swell of sound at the end, finally got everyone in the club into the music. I remember when I heard ‘Counterpoint’ as a single last year. I knew it was dramatic, but I hadn’t realised just how dramatic until I saw Delphic live this summer at Roskilde, and this was demonstrated even further in Philadelphic. Also, not sure how long he’s been giving it his 110%, but Rick Boardman is really going for those high backing vocal notes with passion. I’m looking forward to their new material and where they go from here.

Continue reading Live Review: The Temper Trap with Delphic and the Hundred in the Hands at the Trocadero, Philadelphia – 26th September 2010


Video of the Moment #355: The Hundred in the Hands

By on Monday, 27th September 2010 at 6:00 pm

The Hundred in the Hands recently filmed this stripped down version of ‘Pigeons’ for la Blogotheque‘s ‘Take Away Show’. and the results are stunning. Check in particular Eleanore Everdell’s voice, needing no autotune or studio trickery whatsoever. Amazing.


Read the TGTF review of the duo’s self-titled album by clicking through here, and by the time you’ve read this, editor Mary will have seen them live (once) in Philadelphia and will again on Wednesday in Boston.


MP3 of the Day #240: The Hundred in the Hands

By on Thursday, 23rd September 2010 at 10:00 am

Brooklyn’s the Hundred in the Hands are about to go out on tour as support for the Temper Trap on a big North American tour, swiftly followed by a support slot for !!! in late October and November. This is perfect timing, as their self-titled debut album was just released Monday on Warp Records (reviewed yesterday on TGTF).

Thursdays can drag a bit, so to brighten your mood, how about this fab – and free! – track from the electropop duo? It’s fab, as is their album.

MP3: The Hundred in the Hands – Gigantic Tom Tom


Album Review: The Hundred in the Hands – The Hundred in the Hands

By on Wednesday, 22nd September 2010 at 12:00 pm

The Hundred in the Hands is an electropop duo from Brooklyn. You wouldn’t guess their genre from where they got their name: legend has it that they named themselves after the moniker the American Indian Lakota Nation gave to an American Indian / white man altercation in Wyoming in 1866, during which the natives were victorious and killed 100 white soldiers. A non sequitur to dance music, isn’t it? The duo’s music, however, shows no sign of this conflict, except maybe in the hard-hitting feeling you get listening to this diamond in the rough from Jason Friedman and Eleanore Everdell released this week. This album is in your face and refuses to be reined in. It’s certainly got more heart and is more substantial than LCD Soundsystem’s ‘This is Happening’, which is saying a lot.

‘Last City’ starts the album with gusto. The Ting Tings in their re-emerged form wish they could have written something so catchy. It’s the kind of song I imagine I’ll be pumping my fist to in Philadelphia on Sunday (when I see them live for the first time), the same kind of fist pumping inspired by Friendly Fires’ ‘Jump in the Pool’. Either that or frugging to it without a care in the world. ‘Dressed in Dresden’ is of a similar feeling.

Everdell’s voice is at times disaffected as was accepted in the ‘80s electronic music tradition (think Gary Numan) and at times like the Deheza sisters of School of Seven Bells, otherworldly. But this album has a definite rock kick in it that should satisfy those who but enjoy the ephemeral vibe ala Beach House but aren’t fans of the Baltimore dream pop act, myself included (see ‘This Day is Made’).

Despite what some rock bands think about using repetition, it doesn’t really work in their respective genre all that well. But repetition is dance music’s best friend. Take the shining gem of a track (no pun intended) ‘Gold Blood’ for instance. It’s got killer guitar riffs for one, but the vocals of “hold on, my gold blood” aren’t grating at all. If I wasn’t told the Hundred in the Hands was an ‘electropop act’ I wouldn’t have classed them this way at all. If you’re looking purely at the ‘electropop’ label, look no further than ‘Dead Ending’ and radio hit ‘Pigeons’, ready for the dance floor. Seriously good fun. The ‘80s are back, in a way. And I for one am not complaining.


The self-titled debut from the Hundred in the Hands is now available from Warp Records.


About Us

There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF was edited by Mary Chang, based in Washington, DC.

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