A lot of attention has been thrust upon the sister duo, Hannah and Colette Thurlow, from the outset when they posted an online demo of ‘Creeping’. A blizzard of press chit chat, signing to Fiction, being a favourite band at Field Day 2011, and a slew of dates followed. 2:54 can sit comfortably and ignore any hungry frenzy of criticism that seems to always lie beside ‘hype’and any instant interest in a band. They’ve produced coolly emotional recordings that string together all the parts of their writings in a calculated proficient way. The collection of songs are both expansive and contained, evoked with the use of effects on swaying guitars – rhythm by Colette and heady lead by Hannah - and bass, without getting out of control or going beyond necessary boundaries. The ultra -effective drums provide a steady contribution to set those boundaries. The singing is dramatic, but never goes awry and to a place that would start to sound ridiculous or over indulgent. This is a testament to their adept talent for song writing.
2:54’s self titled début album could be an indispensable item to soundtrack a road trip. But not one through the sunny desert, rather one that’s a trek from grey windswept cracked brick unkempt streets, lined by relentless rows of cement conjoined houses and drenched in the scent of sulphur and damp, to the evergreen moors that envelope and hide secrets. Along the way, the unforgiving clouds above taunt you with cold calculated drops of rain. The trickle changes to an inescapable torrent of downpour that lashes your face – there’s no choice but to succumb to it and continue on your journey, as this atmosphere around you has created part of you. Even though this could make you maudlin, the immense surroundings also make you feel high and grand. You can recognise the feelings of two damned lovelorn cinematic characters painted in the introductory track ‘Revolving’, as the shoe-gazey guitars duel and the bass bluntly buzzes to the end where the lead singer Thurlow sister Colette, wails in turmoil, almost reaching the lengths that Kate Bush would go to.
The trip may take you through stormy seas. Trying to take cover from the air that’s violently whipping around doesn’t interest you. Instead you remain on deck outside, hanging over the edge of the boat, staring into the dark opaque depths of the water - it’s mesmerizing, it speaks to you through the gurgles and waves. The romanticism of the waiting and the voyage out of the undiscovered bottomless water and over to land to meet your lover and ‘be close’ is evoked in previous single ‘You’re Early’. The sumptuous serene vocals display deepness, similar to those of Pale Saints. The vocal and musical layering could draw comparisons to Warpaint, but 2:54’s songs are without overly piled on delay and effects. This track’s hazy guitars use subtle effects and keep the rawness intact. This probably draws from the bands that have inspired them and the assistance of Rob Ellis (PJ Harvey) and Alan Moulder (Curve, MBV, Smashing Pumpkins).
‘Scarlet’ rings of the predatory nature of a BRMC number with its slow burning drive, where the guitars drone, the vocals echo one another – the sisters are each other’s doppelgänger – and all eventually culminate in a harsh collision of vibrating bass and guitars. The trek continues and the steps take you back to the industrial surroundings in a wet valley, but the liberating feeling remains. Take refuge from the smallness in the pub or back bedroom, knowing that the grandiose sentiment is attainable. The moodiness is uplifting, and this especially comes through on the track ‘Creeping’, their latest single release, where the music stands in disparate places as it changes from surges to swells of guitars.
Even though the group’s moniker is taken from the point in time of the sisters’ savoured part of their favourite Melvins track, there’s no absolute derivation from that scene. The sisters have joined their separate and agreed loves together, which complements and meshes with each others, to produce captivating songs. And while their musical outpourings draw immediate comparisons to many early 90s bands, they’ve achieved in creating an atmospheric, moody and poised début album that stands strong.
2:54 - 2:54
Out of 10: 8/10
Written by - Libby Moné
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