The Hundred in the Hands

That word, confidence, is one that can be applied to much of the record. For many other bands, it can be hard to pull off accessibility with credibility. Of course, that credibility could falsely come from their community more than anything, but this case is not that simple. There are real take you aback moments on this album that are based on plain pop sensibility above anything else.

Arriving ahead of a full-length, this five-song EP confirms our suspicion of the duo's pop genius.

The Hundred in the Hands sounds like the debut record of a band with plenty of ideas for a follow-up. It's nice that they didn't make a straightforward dance record-or, for that matter, a straightforward rock record, or a straightforward electropop record.

It's halfway between Kim Wilde and truly wild, and, as such, hugely entertaining. [Oct 2010, p.97]

Friedmans and Everdell have struck gold. [Oct 2010, p.108]

If this were an EP, it would be captivating--Everdell's voice is certainly commanding--but, spread out over 11 songs, it loses some of its hold.

The Hundred In Hands manage to create mesmeric tracks of monolithic noise and danceable beat.

This can't help but feel like a very good EP nestled within a merely good LP. But, if The Hundred In The Hands are to produce an unqualified success next time round, they needn't do anything drastically different.

The detached aesthetic can turn anesthetic when the tunes occasionally falter or the overdubbed grooves fail to generate frisson, but the sweetly twitchy one-two punch of "Dressed in Dresden" and "Last City" brings this studiously chic debut to a sweaty climax.