"The best Vancouver release in over 20 years".-Neptoon Records

The Green Hour Band is a rag tag collection of fresh-faced bohemians, armed with an arsenal of vintage equipment and a prodigious knowledge on how to use it. Formed one short year ago, their ascent can only be described as meteoric within the Vancouver’s music scene. Whether it’s opening for Black Mountain or Blood On The Wall, headlining their own gigs to audiences in the hundreds, or scoring CITR’s top spot on their radio charts two weeks running (weeks ending April 15.08 and April 22.08), The Green Hour Band have proved themselves time and time again to be an act worth taking notice of.

The Green Hour Band’s self-titled album has already garnered the critical acclaim deserving of a buzz band. Georgia Straight
writer, Adrian Mack wrote, “The Green Hour's forthcoming album…is sonically adventurous enough to sit beside neo-psych
contemporaries like the Brian Jonestown Massacre, the Warlocks, or the eternally alarmed-sounding VietNam.” He goes
on to say, “anybody expecting a slavish re-creation of rock's primary period will find something considerably more vital.”
For The Green Hour Band it’s not a matter of if but when?

Previewing four tracks from the Green Hour's forthcoming album­tentatively titled Shades of the Green Hour­the first thing that's apparent is how the band has expanded on the promise of its first, eponymous CD-R release, from back when the group was called the Yesterdais. If that disc established the band's intuition for a fuzz-driven stitch-up of the Hollies, the Seeds, and the Velvet Underground at their most arch, Shades is sonically adventurous enough to sit beside neo-psych contemporaries like the Brian Jonestown Massacre, the Warlocks, or the eternally alarmed-sounding VietNam.

In "Intro", the band delivers its mission statement: tempestuous noise art with "familiar sounds", as Rowe puts it. In this case, bowed cymbals, a medieval flute called a shawm (fed though a phaser), and a harmonium all face off in an electrifying crescendo. "Yesterday's Tomorrow" follows, and it's another fried workout that pits an insistent bass loop against the piquant sound of a vintage Gibson Clavioline keyboard. The galloping "Understand" gives way to an unnerving choir of wailing souls in its chorus, and "Chapters 123" brazenly takes "Polythene Pam" by the Beatles and shrouds it in violence and darkness. In short, anybody expecting a slavish re-creation of rock's primary period will find something considerably more vital.
-Adrian Mack, The Georgia Straight

Great twin-guitar sound, a strong drummer, and an interesting variety of sources - ranging from early Pink Floyd to athletic Led Zeppelin, and covering a lot of UK psych-pop territory in between.
-Allan Macinnis, alienatedinvancouver.blogspot.com

their music is actually quite good. In fact, really good. And anyone who knows me, know that I'm not nearly as passionate about Vancouver's music scene as I am about its street style. However, when I do find a local band I like, I get really excited. Which is why I can't wait for their performance tomorrow night
-Craig David Long, thecommodified.blogspot.com

There are a lot of good Vancouver bands playing in a huge variety of styles and this one has outlined a place of its own, which makes it the best in an exclusive circle. There is a strong element of psychedelia here as well as garage-rock and Syd Barrett-era Pink Floyd where whimsy meets melody and becomes enigmatic. The Green Hour Band has more in common with the progressive spirit of U.K. band The Coral, which likes the '60s, too, but lives in the present. The Green Hour Band's approach to power-pop seems more English than American. B+
-Tom Harrison, The Province Vancouver

The Green Hour...extra layer of fuzz transforms their usual acid-pop symphonettes into more of a Sunset Strip Snot-Rawk snarl circa 1966. They perform an efficient set which yet includes two boss new songs and leaves the punters craving more
-Darren Gawle, Discorder