The Blue Hour

The Blue Hour is a Seattle-based duo that blends elements of ethereal, electronic, and neoclassical music to create a haunting and cinematic dreampop-noir that is reminiscent of classic 4AD artists while retaining a fresh vision that is unique to Marselle and Brian Hodges. Marselle’s ethereal yet soulful vocal delivery often draws comparison to Kate Bush. Meanwhile, Brian’s songwriting and production, which focuses on finding that rare balance between the melancholy and the sublime, is frequently likened to This Mortal Coil and Dead Can Dance. 

In addition to writing for the Blue Hour, Marselle and Brian are ASACP credited musicians who write soundtrack and production music for television and film. They operate a one-stop studio, the forested Pixie Nest, and are available for custom work.

 

Music

Lore

The Blue Hour

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Released by Dark Vinyl, Lore is a compendium of tracks that were recorded, reenvisioned, and mixed at the Pixie Nest between 2019 and 2021. All songs written by the Blue Hour and mixed by Brian Hodges except “Embrace Not the Hand,” mixed by John Fryer, and “One More Mystery,” mixed by Pieter Nooten. Cover art and photographs by Marselle Hodges. “
Released by Dark Vinyl, Lore is a compendium of tracks that were recorded, reenvisioned, and mixed at the Pixie Nest between 2019 and 2021. All songs written by the Blue Hour and mixed by Brian Hodges except “Embrace Not the Hand,” mixed by John Fryer, and “One More Mystery,” mixed by Pieter Nooten. Cover art and photographs by Marselle Hodges. “Moving Forward” is dedicated to the memory of Gayle Albright.
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    These Four Walls 3:52
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    Cold & Bare 4:53
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    Embrace Not The Hand (John Fryer mix) 4:21
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    What I Say 3:33
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    Doubt The Stars 4:14
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    Wheel & Web 4:33
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    Tower Over Me 3:45
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    Mystical Dream 3:29
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    Moving Forward 3:32
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    Invincible 4:12
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    One More Mystery (Pieter Nooten mix) 4:36
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    Lockdown 3:36
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Kiss Kiss Bang Bang

The Blue Hour

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The 1980s were a magical time. Music defined us to a degree almost unimaginable these days. It brought us into a tribe that danced the night away at the clubs, then took the party into the early hours at abandoned houses and the like. There were so many empty spaces for us back then in the city—so many abandoned spaces the we could covert into
The 1980s were a magical time. Music defined us to a degree almost unimaginable these days. It brought us into a tribe that danced the night away at the clubs, then took the party into the early hours at abandoned houses and the like. There were so many empty spaces for us back then in the city—so many abandoned spaces the we could covert into dance clubs and squats. We could live alongside and beneath society, glorious night time creatures of leather, lace, and mascara.

Specimen was a constant. The opening bars of “Kiss Kiss,Bang Bang” were a siren’s call, as irresistible as it was dangerous, as delicious as it was decadent. I vividly remember the poster to “Batastrophe” hanging on the wall of the squat we lived in, like an icon framed by scarves and candles.

“Kiss Kiss Bang Bang” is an anthem to our youth, which we hold very dear. We are lucky to have lived at a time when bands like Specimen were seemingly appearing out of nowhere to turn our worlds upside down. It is with utmost respect and reverence, therefore, that Marselle and I decided to cover Specimen’s classic.

For this interpretation of “Kiss Kiss Bang Bang,” we wanted to preserve the song’s core identity while nudging it toward our ethereal-noir sound. Our friend Vince Iddon provided an excellent starting point for the track by recording a shredded and chemically altered guitar and bass—the epitome of the 80s alternative sound. I then re-wrote the drums to blend the arch drama of a Hans Zimmer soundtrack with the tribal insistence of early Christian Death. Maria Grigoryeva’s sweeping strings helped set the stage for Marselle’s sultry vocal take. The result is cinema-noir, music for the movies in your mind.

We hope you enjoy our interpretation of this classic.

Beastly wishes,

Brian & Marselle
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    Kiss Kiss Bang Bang 4:12
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    Kiss Kiss Bang Bang (deathrock mix) 4:05
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Music Videos

Film and TV music

Film placements:

"Red Sands" placed in "Sex, Death, and Eyeliner" (1999)

"Sodium Sky" placed in "Pop Culture Urbanism" (2021)

Soundtrack Video

Marselle Hodges

  

Marselle Hodges is a Seattle-based vocalist, songwriter, and visual artist. She is best known for her work with the dreampop-noire band the Blue Hour where her soaring voice has drawn comparisons to the likes of Kate Bush and This Mortal Coil. Prior to joining the Blue Hour, Marselle was the lead singer for the black metal band Crypt Orchid and, over the years, has provided voice-overs for commercial recordings and vocals for several electronic dance and industrial projects, including the track “I Am God” for John Fryer’s (This Mortal Coil) Black Needle Noise and backup vocal’s for Chris Connelly’s (Ministry/Fini Tribe/Revolting Cocks) track “Dark Skies.” Marselle recently completed an album of downtempo dream pop music with 4AD legend Pieter Nooten of 4AD/Clan of Xymox fame.

 

Brian Hodges

Brian Hodges is a Seattle-based songwriter and producer. Prior to forming the Blue Hour, Brian was the keyboardist for the cult-goth band Black Atmosphere, which shared stage with numerous seminal goth and industrial acts in the 1990s. Brian is known for production that blends classical melodies with ethereal wave and elements of industrial, resulting in a haunting and cinematic ambience reminiscent of 4AD’s golden years. Brian received a degree in music composition from the University of Washington and has contributed music to film and theater. He regularly produces music, including remixes, for other artists.

Press Quotes

“The Blue Hour are arch-dream weavers whose almost narcotic backdrops are the perfect structure to hang such rich and emotive vocals, ones which at times sound like lost studio sessions by ambient music’s first lady, Kate Bush, slowed down and blissed out and the result is nothing less than a future classic of the dream-pop canon." -Dancing About Architecture   

"The Blue Hour are among the last bearers of that epic and romantically grandiose sound featuring layers of emotionally evocative guitars, sensual voices and slyness and sublime arrangements that elevate the blood, transforming it into beauty dripping with pathos. 'Cold and Bare' is an incredibly iridescent jewel, a real gem that crowns band's career. Almost as if the grace of Kate Bush met the atmosphere of Dead Can Dance carried on the six strings loaded with effects, all being produced by Nigel Godrich." - Humans vs. Robots 

“What we loved in Cocteau Twins, Dead Can Dance, and This Mortal Coil (the early 4AD output) is here in new motion, embracing the current modernities of the genre they adore–yet is not retro at all! The result is a unique haunting ambience which creates an otherworldly hypnotic effect, focusing on texture and rhythm with inspired discord.” -Noise Journal   

“The Blue Hour are students of music past and present. Their swirling soundscape lends itself brilliantly to the earthy and haunting vocals of Marselle Hodges. The music dances around you as if in a dream-like state with a minimal lush approach. Imagine Chelsea Wolfe fronting Dead Can Dance and you will only be scratching the surface of what the Blue Hour has to offer.” - InnocentWords.com