If you’re like us, when you see the words “Des Moines, Iowa” you immediately think of the aggressive attack of the infamous 9 man metal group Slipknot; but fear not, the music of Holding Hour couldn’t be further away from the noise produced by that chaotic nonet.
Holding Hour have been making their distinct brand of what could loosely be described as indie rock size 2021. Their trademark atmospheric, dynamic sound is centred around their combination of carefully crafted dreampop melodies and shoegazey undertones.
Parallel Lines begins with the eponymous title track and immediately conjures images of Ryan Gosling in Drive, for the musical similarities between this and moments of that famous soundtrack are instantly identifiable. However the synthpop sound subsides rather swiftly and we’re left with a prominent post-punk Peter Hook-style bass and a reverby wash of guitars. The vocal stylings are decidedly shoegazey – distant, vague and obscured, however unlike most of that genre, there are parts of this song that could be described as rather minimalistic, which is a welcome surprise. This is very stylish stuff indeed.
The first song crescendos nicely and gives way to the second – “Can I Leave Me Too?” which starts hauntingly, suggestively and invitingly. Very early on we’re struck by the unusual percussion, the rhythm brings a real sense of individuality to the tune and is well complimented by the lo-fi guitar sound. This is married with soft background synths and alternating male and female vocals (courtesy of the band’s two members – Scott Yoshimura and Marissa Kephart) to wonderful, dreamlike effect. The lo-fi guitar becomes slightly more abrasive and pronounced and takes centre stage as the song progresses and eventually concludes.
“Colours Talk” continues the hazy dreamy vibe and is probably the catchiest and/or poppiest of all the songs on offer here. It’s so sweet sounding in the chorus that it’s almost twee – but also rather sombre – I’m getting strong Beach House vibes. The songwriting here is exceptional, it creates a sense of assurance and comfort but also, quite paradoxically, a sense of longing and familiarity, but exactly why it is hard to pinpoint. Which we suppose is part of the eternal beauty of music. The song builds to an eventual cacophonous end which is wholly satisfying.
“Vertical Hold” begins with an exposed piano and atmospheric background noises that sound mechanical in nature. There’s something unnerving about the unnatural noises but the piano is classic sounding and reassuringly rooted in normality. The song gets bigger and grander as it comtinues and we’re introduced, in time, to synth parts that sound like they could have come from a sci-fi movie. This feels like Vangelis on the Blade Runner soundtrack with Jessie Ware somewhere in the background on guest vocals and Apollo-era Brian Eno providing ambient assistance. It’s really quite striking.
The EP finishes with “Come Undone” which begins with what feels like an uncharacteristically bold drum roll. This is paired with a hypnotic subtle guitar line and those same airy vocals. By the time the chorus kicks in the drums have become even more bold and the guitars have been turned up. We bet this sounds amazing live. The chorus drops out and the verse comes back in sounding even more subdued than before by comparison – it’s the Pixies quiet-loud-quiet dynamic and it’s done very well. The vocals here are very laid back – almost nonchalant – and, like a siren song, they lull you into a false sense of security before the heaviest guitars yet turn up, get in your face and demand your undivided attention. Give in to them, you won’t regret it.
Written by Kinda Grizzly
