For the most part, the songs for "The Windless Path" were recorded live with guitar and vocals. After which, the Blue Hour sought the collaborative efforts of Isaac Aubrey (the Arid Sea), Gydja, Christoph Gladis (Black Atmosphere), and the inimitable Matt Howden (Sol Invictus/Sieben) to fill out the songs.

Vocals, Guitar, Keyboards, Samples, Percussion, Effects – Brian Hodges
Guitar – Christoph Gladys
Guitar, Bass – John Moroney
Guitar, Sounds, Effects, Samples – Isaac Aubrey
Samples and manipulations (Moon's Milky Tears) -- Gydja
Violin and viola -- Matt Howden

Brian Hodges fits in perfectly with the world of [romantic neofolk]. Yet it is not a simple copy of the sounds of formations that have belonged for ages to the industrial neofolk scene, but an original and honest work. Superb folk ballads, sweet and bitter, of apparent quietude. It is difficult however, to put a label on the music, with neofolk blood in the veins. The reminiscences are hard to determine, yet it seems that one can hear, with a certain dose of imagination I agree, Martyn Bates of Eyeless In Gaza doing covers of Current 93, Lady Morphia or Lux Interna, or In Gowan Ring playing at making Nick Drake songs sound more cheerful. Many fragile and lunar emotions flow from these melancholic tracks, always on the razor's edge, on the verge of going under at any moment, but that keep a proud and vengeful poise. Fine notes of acoustic guitars mingle with Brian Hodges fragile voice, which carries in them a sensibility laid bare. Along with the tracks, sung with accompanying guitar and tambourine, are inserted a few instrumental pieces, solemn and grave, dark and atmospheric. They add to the album an autumnal hue of a world of ruins and scorched lands. A very nice album, that leaves aside the trodden path, offering a cure of youth to the folk noir genre, whose undeniable qualities appear clearly with each listen." -- Heimdallr

"The music is very relaxing, mellow, and depressively introspective. The listener feels as though they have snuck up behind a lonely troubadour in the forest, pouring forth his heart upon his lute (in this case his guitar). There are shades of modernity to be found in sparse and subtle keyboard work, which is employed for the most part for a few scattered ambient interludes throughout the disc, but as to flesh out the musical backdrop of the remaining tracks. Brian's voice is very clear and commanding, sometimes a hint of Thanatos' vocalist shines through while at other times he sounds like a more sincere Johnny Indovina from Human Drama. He has a very 'youthful' voice, which suits the music quite well. Sometimes his voice soars smooth and heartfelt, while at other times he relies upon a chilling, malevolent whisper, as in the masterful closing track "Red Sands" (Which also feature a few lines from metaphysical poet John Donne, and you can't go wrong with that!) Definitely one of the better CDs I have heard recently, and perfect for late night lamentations and for moments of melancholic relaxation." -- Starvox.net

"Acoustic guitars and the peculiar, emotional voice of Hodges form the base of the songs, which are adorned by strings, keyboards and many effects, loops and samples. Despite this modern technology and experimental elements The Blue Hour still sounds mostly like a traditional folk act, in the vein of acts like In Gowan Ring, with a hint of psychedelica and ethereal music. Finding peace in nature seems to be the main theme of the album, as indicated by the cover art, albumtitle and quotation of Lord Byron: ” […] I love not Man the less, but Nature more”." - Funprox.com

"The Windless Path has its roots somewhere between Folk music and Ambient and is build upon mostly acoustic guitars and string arrangements with some spare electronic elements and the warm voice of mister Hodges. The atmosphere is mostly melancholic, but not dark or depressing, I would call it simply a beautiful album. THE BLUE HOUR is one of the more original bands in the [neofolk] scene, full of DIJ-clones." --Backagain.de