Those legends over at Fuzz Club are at it again. More amazing hitting my inbox this time from Golden Hours. The group pulls together players whose histories run through Gang of Four, The Brian Jonestown Massacre, Tricky and The Fuzztones. That sort of musical history should give you an idea of the calibre of musicians involved in this project. When Golden Hours first appeared in 2023 with their self-titled debut they sounded like a project still finding its centre. Beyond Wires, their second album for Fuzz Club, feels like the moment the pieces truly lock together.
Based between Berlin and Brussels, the quartet of Hákon Aõalsteinsson, Wim Janssens, Tobias Humble and Rodrigo Fuentealba Palavacino operate with two lead vocalists sharing the record. Odd numbered songs fall to Hákon while Wim takes the even ones. It creates an intriguing rhythm across the album. Voices shift while the sonics stay very much connected. Twin guitars coil through layers of fuzz while bass and drums hold everything tight. Underneath that core sit synths, percussion and ghostly textures that slip in and out of the mix. The result carries shades of post punk, darkwave and psych rock without feeling tied to any one tradition.
Let’s drop the needle and see where we go.
‘Whatever Happens Today’ opens the album with a slow sense of anticipation. Instantly it feels cinematic. The guitars trade in shimmering licks, vocals are dark and brooding. The band sound confident from the first moments. The drums are on point, creating room for the bass by shaping a stunning poly rhythmic shuffle. Man, what an opening.
Up next ‘Heading For The Moon’ brings a more direct and visceral approach. The vocal carries a dry direct tone that suits the churning guitars beneath them. Once again, I really need to shout out the drums. Always moving, always interesting. When we head into the chorus it feels like we’re taking off. Great use of dynamics throughout.
Not content with settling in one place ‘Arctic Desert’ expands the atmosphere again. The guitars stretch into long ringing notes that echo through the track while the rhythm moves with deliberate weight. There is a sense of isolation in the arrangement. Each instrument feels placed with care so you can enjoy each and every twist and turn.
‘The Letter’ arrives with the urgency of a band tightening the screws. Built around fuzz coated guitar melodies, the song hits with purpose. The vocal delivery remains calm even as the instrumentation surges beneath. The contrast works well. The track carries a dark narrative of frustration and mental pressure which gives the song its emotional centre. It might be an obscure reference but I get hints of Edinburgh School For The Deaf in the verses.
We settle into a hypnotic psychedelic groove on ‘Book Of Lies’. The voice sits low in the mix while the guitars hold the line, circling around a repeating pattern. The rhythm section locks it down, tight as a drum with quiet determination. It is only in the choruses that we get the release as the song erupts before being locked back down again.
Drums lead the way on ‘The Same Thing’. Things pivot toward movement again. The bassline falling in line filling out the rhythm section, driving the track forward while the lead guitar adds sharp accents. Guitars flicker around the rhythm like sparks. It’s a lean and purposeful track and shows the breadth and depth of these amazing musicians.
‘Voices’ drops the pace just a little. Arriving like a lumbering beast it asserts itself immediately. Deep deep vocals and chiming reverb-soaked guitars that swell and ebb battle for your attention. This is as close you’re getting to a ballad because this band mean business.
‘Train I Ride’ restores the momentum. The song moves with the steady pulse of its title. Guitar lines are minimal as the rhythm section keeps everything on track (excuse the pun). There is a hypnotic quality here and I really love the use of an acoustic guitar to add another aural texture to their palate.
You’d be forgiven for thinking you were about to hear a new Robert Smith song with the title ‘Pray For Darkness’. Sure, enough it leans deeper into the band’s gothic roots. The guitars carry a darker resonance while the rhythm pushes forward with force. The track balances mood and melody in a way that feels central to Golden Hours’ identity. Uncle Bob would approve!
‘The Water’s Fine’ closes out the album with a sense of calm resolution. The arrangement opens up and allows the guitars to ring out clearly. The vocal carries a quiet reassurance that rounds the album off with warmth after the tension of the earlier songs.
Beyond Wires reveals a band operating with real clarity of purpose. Every player understands their role, yet each part still finds space to breathe and stretch out. The twin vocal approach keeps the album moving while the guitars, bass and drums build a sound that feels rich without ever becoming cluttered. There are nods to the darker corners of post punk history, flashes of psychedelia, and moments of hypnotic groove that pull you deeper with each listen. By the time the final track fades out you realise this record has quietly wrapped its wires around you.
Beyond Wires is out now via Fuzz Club. You can check it out over on the Golden Hours Bandcamp page.
You can follow Golden Hours on social media here…
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