"We Could For Hours is instability. It represents the will to open the gates of unknown. It is the dark, whispered sounds and hidden truths. Chaos. And now here it starts, everything takes form, sensations rise, objects acquire colours, distorted vision but still a vision of reality. Everything dances and follows the rhythm of music, an unknown tribal dance. Silence. Sounds follow themselves but always hidden in a veil of mistery, words are mute, everything is listening attentively to the enchanting melody of nature. Mind, free from human limits, goes straight towards a long journey and meets the supernatural and then sinks into the knowledge oblivion. Everything is nothing. Nothing is the time. Time becomes memory and memory brings us to happy thoughts that rise first, then fall in the end. Hallucinations. The precariousness feeling is overwhelming us, tollings of a clock without hands are molesting our ears and they scan the slow and endless flowing of life. Too late to be back. There's no possibility. We have to live desolate countrysides burnt by an August sun. Lysergic vision. Void."
...according to Michael.
Although I chose the 'happy' reaction to this album, the tone of it isn't exactly happy (it's actually a bit sad and serious), I was just happy to hear the record. The structure of We Could For Hours is divided into 4 tracks, 3 of them being long, sweeping movements that are layered with dense ambient sounds and saxaphone textures. The feel of the music has a grainy & rich depth that approaches the sound of an ebo but with more complexity. It's easy to dive into contemplation during the first half of the album, however the last 2 tracks take on a more chaotic and strange mood that's hard to define. Overall, it's a decent listen appropriate for riding a train and staring out the window. I am not sure how or if it will grow on me.
Rating: 4 out of 5So, what do you think? Best reviewer each month gets £10 off their next order!