Hundred Waters - Currency EP (2017)

When they released their newest single "Particle" earlier this week, Los Angeles based art pop collective Hundred Waters gave every indication that new music was on the horizon. Fortunately for fans that time is both now and later as the threesome stealth released a five song EP and have plans to release their third full length album sometime later this year. While the release of "Particle" certainly allowed for some speculation on the sound of their new album - the fact that it's one of several new songs featured on the EP (along with "Everywhere" a snippet of which was featured in a video announcing year 4's batch of FORM Arcosanti artists) is thrilling in that it essentially throws the little fans/listeners have come to expect right back into the murky unknown. The band have never been ones to repeat themselves and each release has been handled with cohesive care.

Hundred Waters' music as unlabelable and sidestepping in genre as it is has been firmly rooted in the electronic element. Much of the appeal of their self-titled record laid in just how elastic they treated the borders of acoustic and digitized sound, blurring the lines with various timbres. Its tapestry of textures arranged with monastic devotion and universal resonance that it was almost hard to believe it was real. As Hundred Waters' have grown over the years since their debut, they've given themselves over more and more to computerized sounds - enlisting a number of electronic leaning artists to rework songs, putting out EPs, and even a whole remix album featuring those works. The Currency EP is by all accounts a very logical step in the band's growth, and first single "Particle" featured a much more concrete synth pop direction and Hundred Waters seemed to take all the trappings and hallmarks of EDM and work them into the song. But Hundred Waters have from their onset been a band not like any other and even their dip into more straight forward pop was handled in a way uniquely their own. "Particle" combines Nicole Miglis' delicate vocals and emotion-stirring lyricism with production that's constantly in flux - at times simple and sparse and others multitudinous and lush. There's a push-pull for much of its duration often directly in line with the swing of certainty/uncertainty captured in Miglis' lyrics. The powerful lovelorn moments aiming high for the stratospheric and being given plenty to fit the expanse; the moments of devastated doubt coming down and hushing the rush of sounds. It's not hard to see why it was selected as a single: it's dynamic. Fraught with raw emotional thoughts and feelings.

But Currency begins with a moment of quiet. "Jewel In My Hands" begins with a soft chime that's much more morning-sun-peaking-through-your-bedroom-window than bedside alarm. It's a gentle start as Miglis' actual lyrics seek to rouse you: "Wake up, come on, go on, get up, get out of bed you're tired but this is most extraordinary" Miglis coos and essentially jumpstarts an adventure. It's a work of beguiling restraint - managing to build its various layers and sense of forward momentum without actually needing to raise its volume. It forms an interesting parallel with its succeeding track "Particle" which begins in a similar whisper but branch off in decidedly different ways. "Jewel In My Hands" seeks to retain that feeling of stage-whisper throughout eventually achieving a climactic break from the hushed state where "Particle" is more inclined to move through peaks and valleys.

The most surprising thing about Currency may be in how many different switch ups in sound occur.
Album closer "Currency", the track that gives the EP its name, feels not unlike a The Moon Rang Like A Bell outtake. It's siren-like effect as well as Nicole Miglis' vocal cadence easily reminiscent of "Cavity" where "Takeover" is the most percussive of Currency's tracks and starting out there, it's never quite able to shake that initial harshness. Or rather it never really tries to. It's another straight forward pop song but one far more rooted in live instrumentation than "Particle" if not the whole of Currency. Where much of Currency seems to either pick up directly after The Moon Rang Like A Bell or seek to move on from it, "Everywhere" recalls the dream pop of Hundred Waters' self-titled debut. It's a rare moment where Miglis' lyrical narrative doesn't dictate the direction of the song. Instead Miglis' vocals soar above, adorning the swirling vortex of sounds as it sprawls ever outward. It has an endless quality to it that the band acknowledge by essentially never trying to end it - letting it fade out.

As a whole Currency is a wonderful addition to Hundred Waters' growing catalog. It manages to experiment with the group's ongoing efforts to push themselves forward creatively and hints at both potential directions to them to take and roads not traveled. Wherever Hundred Waters' new album lands, Currency is sure to operate as a benchmark release as a document that captures where the band were creatively after The Moon Rang Like A Bell. That's not to say that it's much more worthy of comparison than The Moon Rang Like A Bell which was a wondrous record that pushed Hundred Waters in so many unexpected directions but the strength of songs like "Particle" and "Jewel In My Hands" is hopefully a sign of things to come from a band who is delightfully hard to predict and is absolutely enjoyable to listen to from beginning to end over and over.
 


Hundred Waters' Currency EP is out now and available to stream/buy/download from your preferred digital retailer.

Listen: Hundred Waters - "Particle"

It's hard to believe it's been three years since the last album from experimental pop outfit Hundred Waters but the trio have had their hands in a number of exciting adventures since sophomore record The Moon Rang Like a Bell. The most intensive of which was the creation of the own music festival FORM held out in Arcosanti, Arizona. The festival enters its fourth year this year and the band has been for the most part elected to debut new songs during their sets there. Last year not only did they do that - playing an entire set of new material they were workshoping but they also sated fans eager for more with the intensely collaborative "Show Me Love" remix. The project was helmed by Skrillex but featured a number of FORM alum/friends of the band and also Chance the Rapper.

Now, however the band seems ready to dispatch a brand new set of tunes into the ether and new single "Particle" is our first taste of what to expect. Where Hundred Waters have essentially spent their past two albums evading easy genre labels, "Particle" is perhaps the easily classifiable track to come from the band offering up Purity Ring recalling electro pop. Despite the band diving deeper into the digital element, Nicole Miglis continues to shine as a beacon of Hundred Waters' sincere human element even when it is occasionally delivered through effects. Miglis' vocals are more versatile than ever - holding their ground and pushing fearlessly forward amid synth sweeps and epic drops. "Particle" is Hundred Waters are their most accessible, a surefooted EDM banger that still manages to retain Hundred Waters most characteristic strength: the effortless blend of the natural and the electronic.

Hundred Waters' upcoming album will be out later this year. Until then listen to "Particle" also available for free download.

All Around Sound's Favorite Albums of 2014

2014 was an odd year - on one hand it seemed like the amount of notable releases were as plentiful as ever before while on the other, a lot of those releases ultimately did not live up to the hype. 2014 was the year a multitude of artists not only reserved for their follow up records but also seemed inclined to pack full of releases - artists like Sondre Lerche and Steve Gunn had more than one album out this year. Lerche offering up the soundtrack to the movie The Sleepwalker he wrote music in addition to return to original songs after his first ever live album while Steve Gunn pursuing two collaborations in addition to his own full length follow up to last year's brilliant Time Off. While every genre and music type was represented this year, 2014 in my humble opinion, was the year of the singer/songwriter. From releases from The New Pornographers, Cold Specks, Hiss Golden Messenger, and dozens more, the singer/songwriter's seemingly dominated this year delivering on the potential of their releases in a way that bands didn't seem quite able to. Despite this, it's been a year of surprises all across the board so without further ado here's my favorite releases of the year in no particular order.

Kevin Morby - Still Life
It's funny that in a year with not one, not two, but three albums from Steve Gunn that the album that most resembled the simple narratives of Time-Off was actually that of Los Angeles' based songwriter Kevin Morby's sophomore record Still Life. But where Gunn's lyricism sprang from a sort of deductive observationalism, Morby's seem like ready additions to the folk canon if not for their experimental twists. Where Gunn's folk rock rambles were aided by his jazz background, Morby relies on his psych and garage rock past to give his songs and extra bit of flavor. But Morby is more than Steve Gunn's foil; Morby's songwriting is undoubtedly his own - it's a free-flowing candor that doesn't detract from its moments of poignancy. Morby's lyrics are plainspoken but articulate; casual but intelligent and in moments like "The Jester, The Tramp, & The Acrobrat" or its callbacks elsewhere on the album ("The Dancer"), it's obvious Morby knows a thing or two about songwriting structure - able to build upon them in ways that are understatedly great.

Angel Olsen - Burn Your Fire For No Witness
There's no denying that last year's sneak peak of Olsen's sophomore album Burn Your Fire For No Witness in the form of the fiery, rock "Forgiven/Forgotten" got a lot of people amped up for the album but ultimately Olsen subverted expectations by making that the lead single - while relying far more frequently on electronic guitar on the album, it's not quite as incendiary as the single would lead listeners to believe. Olsen's still ruminates beautifully in her introspective heartfelt tunes. Burn Your Fire For No Witness is a patient album, especially in its second half as Olsen gets sparser and more intimate but there's little doubt of Olsen's songwriting or ability to make an effecting album. It's an album of arresting beauty where Olsen lays herself completely bare even amid growling guitars.

Landlady - Upright Behavior
When I first discovered Landlady at SXSW, I was so taken with their incredible live energy and commitment to audience participation in "Above My Ground" that pretty much everything else about the band failed to register. It's not until you sit down with Upright Behavior, the sophomore record for Adam Schatz and company that you realize just how much Landlady have going for them. In addition to having an impressive roster of musicians, and engaging live performances - Adam Schatz is a gifted songwriter. His topics are eclectic - from the universal feelings of loss and existential dread ("Above My Ground", "Dying Day") to the zany and specific ("Girl","X-Ray Machine") but what's pervasive in all of Schatz songs is that quiet need for connection, Landlady's songs are the kind that seem to force a sincere reaction out of you - not through any sort of introspection; the reaction seems surprisingly incidental. And yet, that's part of Schatz skill. His songs profiting from both a pop universality and also his occasionally comic wit. Landlady is a good a band as any to fight what was previously a losing battle against irony and cynicism. Landlady's songs, seem unaffected and unassuming but they stir something in you, drawing a wellspring of feelings in their tragically short run times and yet, it's 30 minutes of earnest response that might not have existed without them. Landlady are a band rebelling against a increasingly normalized response against sincerity but if Upright Behavior is any indication they just might win.

PHOX - PHOX
It says a lot about the Baraboo, WI septet and the trust they have in each other that they can make an album as understated but enjoyable as their self-titled full length debut. That's not surprising considering PHOX's members have known each other for years before shacking up together and forming a band but seven members is a lot of people to account for if you don't exactly know what to do with them. Luckily for PHOX this is never the case and their eclectic instrumentation - clarinet, banjo, flute, flugelhorn/trumpet, in addition to the standard guitar/bass/drums helps separate them from the pack. It's an album that resists the siren song of the Mumfordized folk that's become wildly popular. Each song has distinct melodies, unique narrative subjects, and utilizes its multitude of members ably. Monica Martin may be the group's mouthpiece but there's no doubts PHOX is a full band affair. PHOX spends a significant amount of time pursuing the melancholic but even then doesn't lose it's lightness of step and arrangement. They never reach off-putting levels of sadsackery, hitting just the right amount of emotion required. PHOX take the scenic approach to folk pop, rarely giving you those monumental, catchy moments right up front and it's a welcome reprieve from the in-your-face nature of your garden variety indie pop act.

Brooklyn Rider - The Brooklyn Rider Almanac
10 years after their initial formation, New York based indie classical string quartet Brooklyn Rider have settled into a comfortable groove of sorts: their release schedule is surprisingly consistent - more or less releasing an album a year since 2008's Passport. There's touring schedule And yet while falling into a comforting rhythm, Brooklyn Rider has strived and succeeded at avoiding to be predictable. Just take this year's release The Brooklyn Rider Almanac; the essence of what drives the foursome at it's epicenter, it's a release that simultaneously breaks down and relies on Brooklyn Rider's familiarity. "Morris Dance" and "Exit" introduce vocals to what has for the longest time been a mostly instrumental endeavor for the quartet while tracks like "Dig the Say" and "Necessary Henry" absolutely requires their years of rapport to navigate the intricate improvisatory layers. Normally building the album around an reinterpreted classical work, The Brooklyn Rider Almanac instead is formed from the contribution of all living composers who themselves sought inspiration for the Almanac's pieces from other artists/composers. The Brooklyn Rider Almanac is not only a strong, interesting experiment but also one  that challenges and reintroduces the quartet's own mission statement - making for one of the most exciting and engaging albums they've released.

Lewis & Clarke - Triumvirate
Lou Rogai is nothing if not patient - it's reflected in everything that makes Lewis & Clarke worth listening to - their song's leisurely pace, the instrumental efficiency in the arrangements, the steady but surefootedness of Rogai's lyricism. It's virtually no surprise that the band's full length follow up would come years after their last; 7 if you're counting the time since Blasts Of Holy Birth, 5 from the sign of life that was 2009's 4 song Light Time EP. And in that time Rogai has grown more patient still. Triumvirate is a wide-sweeping sprawl of melancholic flourishes and meditative introspection. Triumvirate, Lewis & Clarke's third album, is a stunning work of beleaguered beauty; lush but complex in tone and overall mood; it's a record that contains a remarkably human breath. From it's melancholics flourishes to its meditative introspection, Triumvirate unfurls at a realistic rate of growth and decay. Nothing here is rushed - plodding casually through the philosophical brush instead of relying too heavily on the visceral, Rogai invoking emotion through a sort of learned response; he never directly appeals to the heart but engages each sense equally over the course of his long-form art-pop compositions until you find yourself responding in earnest.

Wye Oak - Shriek
While the latest record from Baltimore duo Wye Oak received its fair share of hype, it was arguably for wrong reasons. Lauded as the guitarless Wye Oak album, Shriek comes after quite a bit of Jenn Wasner dabbling in her other musical projects like Dungeonesse and Flock of Dimes and the influences from those fair more mainstream pop efforts have seeped into Wye Oak for the better. There wasn't anything wrong with Wye Oak's past incarnation as an indie rock band of note but the Wye Oak's synth pop renaissance provided a palette cleanser that Wasner has stated needed to continue to feel invested in the band and it's resulted in some of her most honest songwriting moments amid Shriek's dancier flights of fancy.

Sea Wolf - Song Spells No. 1: Cedarsmoke
It's a marvel that the latest Sea Wolf album, Song Spells No. 1: Cedarsmoke isn't actually considered to be a full blown effort by singer/songwriter Alex Brown Church. The album, the first in what is hopefully an ongoing collection of songwriting experiments pursued between official albums is basically meant to keep fans sated until Church and company have a "proper" full length effort prepped and potentially keep Church's songwriting chops sharp. Song Spells No. 1: Cedarsmoke achieves both those goals but also succeeds in being an incredible effort in its own right housing one of Alex Brown Church's strongest and most immediate songwriting efforts in "Young Bodies".

Sylvan Esso - Sylvan Esso
It sounded almost too much like a novelty - two folkies Amelia Randall-Meath of Mountain Man and Nicholas Sanborn who I had known from his run as a member of Megafaun's touring band team up for an electronic project. The only thing I didn't really count on was the versatility of Amelia's voice or the fact that Nicholas Sanborn is actually a skilled electronic producer. Sylvan Esso wasn't a project that was supposed to exist and yet, no is wishing it didn't. The duo, unlikely as they might seem on paper/without all the fact, creates a sort of charmingly easily accessible brand of electro-pop that it's hard not to get behind. With Sylvan Esso there's no gimmick, just the strength of the songs which happen to all be ridiculously good. It's a record that plays off of each person's obvious strengths and a few hidden ones for good measure while capitalizing on the duo's obvious creative chemistry and an undeniable urge to dance.

Blake Mills - Heigh Ho
While Blake Mills continues to make a name for himself a session musician everyone wants to work with and album credits continue to lengthen, this year saw the return of Mills to his solo project/main songwriting vehicle for the first time since his 2009 debut Break Mirrors and it's an album that's certainly worth the wait. Undeniably the more accessible record, it's ironic that it's also the record where Mills explores and experiments with various guitar tones and techniques far more openly. Mills has learned a thing or two about pop music to level up his songwriting and the results while lyrically broad - the magic comes from what Mills doesn't quite say, what the listener infers like on Fiona Apple featuring "Don't Tell Your Friends About Me". Mills has a talent that still percolates through his broadest moments like "Before It Fell" and "Curable Disease" which are contain the album's most impressive and effecting lyrical agility.

Tiny Ruins - Brightly Painted One
It's rather fitting that Brightly Painted One is the first album from Hollie Fullbrook's Tiny Ruins most Americans will hear. Based on the strength of lead track "Me at the Museum, You in the Wintergardens", it exemplifies everything Fullbrook has to offer - a stunning simplicity built around wonderfully evocative imagery and artful musical moments. Fullbrook is a breath of fresh air in the guise of a folk singer; finding inspiration in unexpected subjects and avoiding obvious tropes, Brightly Painted One is a scenic amble with an ever-changing focus but whose effect remains wholly the same. Fullbrook and her band are the only constant - an angel-voiced Scheherazade navigating the listener around mountains, across seas, and through time with a surprisingly fluidity and lilting gait.

Adult Jazz - Gist Is
When people listen to Adult Jazz - their knee-jerk reaction might be to compare them to the Dirty Projectors. It makes sense to an extent: they both strive to create music that is simply more than a catchy melody. It's music that stimulates the senses but challenges the listener and the performer alike. But the comparison distracts exactly from what Adult Jazz has going for it. Gist Is, a debut that is equal parts auspicious and criminally underrated, Adult Jazz prove themselves as precocious innovators. Take album opener "Hum", first an a capella introduction to the distinct vocals of frontman/songwriter Harry Burgess before undergoing an organic metamorphosis. It's an introduction to the band that's surprisingly apt - rarely does the Leeds four-piece sit on a single thought but neither do they haphazardly rush from one idea to the next; Adult Jazz are both restrained and restless; their creative flow resembling a tangent more than a leap but without all the clutter. Adult Jazz are many things - experimentalists with a meticulously polished creative vision; musicians with an inherent desire for chaos and subversion of expectations. There's no doubt a natural poppiness to Adult Jazz's songs and yet they rebel against that very notion in both theory and practice. It's an album of considerable thought and forethought that also embraces a improvisatory stream of consciousness; it's polished and precise but at times purposefully rough and effectively human.  Adult Jazz is a band of contradictions but those same contradictions are both what give the band its creative power and sets them and their debut album Gist Is apart from all the rest.

Elizabeth & The Catapult - Like It Never Happened
Elizabeth Ziman is a mainstay in New York City's singer/songwriter circle and with her third album Like It Never Happened it's not hard to see why. Ziman manages to perfectly balance a sense of playful ease with honest and effective lyricism in a way that's refreshing in absolutely every single way. A pop aficionado, Ziman's most winsome moments both on Like It Never Happened and in general are when she's able to imbue her personality into her songs. Like on the titular "Like It Never Happened" where Ziman offers up the wry lyrics with a rather straight-faced delivery that makes it doubly enjoyable. Ziman's strength comes from her unique approach to the singer/songwriter genre - she's a purveyor of love songs but there's no sense of whimpering inactivity from Ziman. She's a woman of action, aware of her own romantic weaknesses and pursues the for the narrative mileage without letting herself be solely defined by them. Like It Never Happened's appeal is that even at it's most poppy, it never comes off as cutesy. It's a sincere record where Ziman shows off the best parts of herself; owning her personal weaknesses in a way that make them quite flattering without her having to spin them as such. From it's arrangements to Ziman's shifting instrumental focus (guitar versus piano), Like It Never Happened shows Elizabeth & The Catapult at her very best. Everything is polished but not to the point of being overly produced and it's a collection of songs that really demonstrates what Ziman's capable of.

Kishi Bashi - Lighght
When K. Ishibashi decided to embark on a solo career after countless years as an ensemble player for artists like of Montreal and Regina Spektor he did so with pretty much everyone's blessing. In a lot of ways his initial releases (his inaugural Room For Dream EP and debut full length album 151a) were made with what he learned from his collaborators balancing practiced patience with bursts of unheralded ingenuity. On Lighght, Kishi Bashi overcame any notion of the sophomore by leaning more into his influences than on his previous releases - jazz fusion and progressive rock explode Kishi Bashi's established cinematic scope with pyrotechnic grandeur. K.'s straight forward pop efforts "Philosophize In It! Chemicalize With It!" and "Carry On Phenomenon" are almost infuriatingly infectious while other songs "Bittersweet Genesis For Him AND Her" and "Q&A" flourish from their emotional resonance. It's an album leagues stronger than his already superb debut that imbues the studio work with Kishi Bashi's intensely affable live energy and ever-growing technical prowess. It's an album that only Ishibashi himself could've predicted he could make but one where the amount of hard work is evident despite it's effortless delivery.

SoftSpot - MASS
Brooklyn art-rock trio SoftSpot are not a singles band. That's not to say they're albums don't possess standalone songs on them but SoftSpot are a band with a considerable knack for the album medium. The treat it with a sacredness that pretty much ensures that they'll be rewarded for their piety. SoftSpot's debut was such a fully realized effort with a total cohesion of ideas, for their follow up it was never a question of whether it would be so; merely what would those ideas be and how would the band implement them? On their sophomore record MASS, SoftSpot dial back the intensity of Ensō in order to create a work that stands separate from it. MASS is far more languorous record than Ensō and yet, there's no denying its ideas gestate far more quickly. On MASS, SoftSpot may condense their gestation of ideas but not its flow relying far less on sprawling track lengths than before. It's surprisingly at odds with SoftSpot's deceleration but fitting ultimate making their more vivacious efforts like "You/Yours" and "Crosswinds" much more effective. There's no question SoftSpot has ideas in spades but MASS proves sometimes all you really have to do with them is let them simmer.

Sondre Lerche - Please
One of the most exciting things about following the career of Norwegian singer/songwriter Sondre Lerche is how absolutely committed the man is towards finding new ways to tackle pretty universal topics. That in a nutshell is what Lerche brings to his approach towards pop music - it's how Lerche can, after a decade-long career still dip into the well of love songs but still put out something that seems fresh. On Please, Lerche's seventh studio album, Lerche takes his one chance to handle something as less inclusive as his divorce and manages to imbue in it not only a sense of broad appeal but avoid the usual trapping of a break up record in the same stroke. Lerche doesn't allow himself the luxury of a pity party on Please, nor does it pretend that he hasn't gone through something life-altering but true to form, he finds a way that's better than the expected to reach that sense of commonality - by creating a record that's downright celebratory. A celebratory of his flaws, her flaws, our flaws in general; Lerche's not pulling any punches but he's mature enough not to play the blame game and in that regard he's able to play off of and play with his undeniable charm and avoid the dangers of sentimentality.

Hundred Waters - The Moon Rang Like A Bell
When Hundred Waters unleashed their debut self-titled record into the world, it was an unfathomable work of art; completely separate from the notion of genre with an artistic vision that was light years ahead of what was currently happening in the musical industry on the most epic of scales. So when Hundred Waters announced their intention not only to follow it up but rather quickly doing so - it was anyone's guess what the hell that would even sound like. How could Hundred Waters build on a sound that was so absolutely unique and yet incredibly difficult to pin down? And yet, Hundred Waters managed to do so. The Moon Rang Like A Bell while leaning far more heavily into their almost all of the various genre slashes you might use to describe their sound - electronic, art, rock, pop while still not entirely adhering to any of them. Their sophomore record continues a sort of creative narrative you weren't entirely sure Hundred Waters were creating until the work emerged - they've tightened up, lasered in, and ironed all the seams - the result is a work that explores Hundred Waters' interests - their grand artistic moments even grander - hushed and solemn but unfettered; their pop leanings more leaned into. It's a work no one could have predicted they'd make and yet, fits so perfectly among their previous album that demonstrates their ability to channel the magic of their collective creativity as they see fit. Their fully realized debut wasn't just the alignment of their creative energies, it was only a peek into the hivemind and a benchmark for which they could easily surpass. The Moon Rang Like A Bell leaves you with only one question at it's quietly satisfying conclusion: what the hell are Hundred Waters going to do now?

Pattern Is Movement - Pattern Is Movement
On their sophomore record All Together, Philly experimental pop duo Pattern Is Movement planted many of the seeds for what would become their self-titled record and yet, it's a record that probably wouldn't exist as it does now if not given the time they put between it and the 2008 record. Quietly inspired by hip hop & R&B in the past (both singer/keyboardist Andrew Thiboldeaux and drummer Chris Ward come from hip hop backgrounds), Pattern Is Movement is the record where they let those influences really come through while avoiding treating it like too much of an affect. From Ward's J Dilla inspired drumming to the subtle use of autotune on Thiboldeaux's normally unaffected vocals, Pattern Is Movement lean heavy into their R&B roots but through their pure reverance of the genre as well as the reliance on their own ideas, Pattern Is Movement comes off as a properly honest effort and less like a part of the culture-biting trend.



A Spotify playlist featuring full streams of all the albums on this can be reached here. Thanks for reading~
 
Honorable Mentions:

Damien Jurado - Brothers And Sisters Of The Eternal Son

Frankie Cosmos - Zentropy

Friend Roulette - Grow Younger EP

Grandma Sparrow - Grandma Sparrow & His Piddletractor Orchestra

Mirage - Blood For the Return EP

Saintseneca - Dark Arc

Salt Cathedral - OOM VELT EP

Steve Gunn - Way Out Weather

White Reaper - White Reaper EP

Wild Beasts - Present Tense

Will Stratton - Gray Lodge Wisdom

Hundred Waters - The Moon Rang Like a Bell (2014)

Between legs of extensive touring both here and abroad somehow Los Angeles via Gainesville art pop collective Hundred Waters found time not only to put down roots long enough to rest and heal but to craft and hone the collection of songs that would become The Moon Rang Like a Bell, their much anticipated debut self-titled effort.

The Moon Rang Like a Bell is far-cry from more of the same, both out of necessity and artistic intent. In gospel-tinged opener "Show Me Love", Hundred Waters shift away slightly for the genreless mass of their past selves and seem fully committed to conveying their influences a bit more clearly here. Or as clearly as the foursome are bound to be - there's no a-ha moments of definite artists/bands the band are paying homage to but merely psychic impressions of more focused and intentional incorporated vibes where they were currently lacking.

Hundred Waters have returned leaner and the new batch of songs reveal a far more elevated use of electronics. Where Hundred Waters obscured the line between electronic and organic sounds like a musical ouroboros, the distinction is far clearer here, the beats heavier, and surprisingly enough the booming, occasional dub undertones of Hundred Waters snuffed out almost completely.

One of the delights of the Hundred Waters album can be found in its pacing - finding the pitch perfect balance between atmospheric reveries and much more straightforward pop dalliances. Where Hundred Waters glistened with cosmic radiance, The Moon Rang Like a Bell sets its sights a bit lower; where the debut recalled the celestial and ethereal, the sophomore effort strives for more earthly pleasures - aiming for much more visceral responds than mere awe. While it's debatable if one album has more textural inlays than the other or is more accessible than the other, there's no denying the newer work doesn't allow itself to simply revel in its own beauty fusing it monumental music passages with an ever present forward motion and occasional dance-inspiring energy.

It is often the case of musicians creating music as art to create impenetrable or alienating works but that's never been Hundred Waters' Achilles heel. Hundred Waters are an all inclusive group of talented songweavers and its that openness that aids them on their follow up - where Nicole Miglis vocals threaten to get swallowed in the bray in such a way where their meaning might not be readily apparent, Hundred Waters ensure that there's plenty of other elements to clutch onto. Always making sure to give Miglis her due, there's certainly an abundance of sounds to distract the casual listener not necessarily from her vocals whose melodies ring clear as bell but the very meaning they're trying to convey.

The Moon Rang Like a Bell is an excellent follow up to an formidable debut. Hundred Waters' return manages to keep them sounding like one-trick ponies while establishing a justifiable development of an already impressively unique sound - essentially the hope for every band but Hundred Waters do so with celebrated finesse and awe-inspiring vision.



Hundred Waters' sophomore full length The Moon Rang Like a Bell is available on OWSLA now.

Listen: Hundred Waters - "Down From the Rafters"

It's rare, especially in the case of a band I truly love, for me to be completely content with a band's released content and not eagerly lust for more. But then not every band is able to put forth such a flawlessly epic album as Hundred Waters debut self-titled record. A record that casually reveals an additional layer of beguiling complexity on each subsequent listen, I have yet to actually tire of it. When I saw Hundred Waters on their most recent co-headlining tour with BRAIDS however they revealed a series of grandiose new tracks that threatened swallow me whole in their cosmic splendor. I hadn't been particularly craving any new material from the band but if they were going to offer it anyway who was I to say no?

Fast-forward several months later and while the details of their upcoming sophomore record are still an elusive mystery, Hundred Waters have offered up a little something to satiate the appetite. The first thing that struck me about new single "Down From the Rafters" was a bit of anthropological appropriation in its intro. While Hundred Waters have always been gifted in their ability to blur the electronic and the organic so fully and completely, the opening melody line featuring an refreshing incorporation of strings seemed almost too archaic to function in a Hundred Waters track. And yet, from there their initial spell is cast. They lead off almost immediately with the new through the presentation of the old before Nicole Miglis vocals enter to enchant in their almost all too familiar way. There's something noticeable ancient in the band's normally futuristic textural interplay and yet, Hundred Waters continues to revel in their universal resonance.

"Down from the Rafters" displays Hundred Waters effortless mastery of space managing to recall both the expansiveness to birth an echo and the intricate lushness imbued in the most magical of their musical moments. While Hundred Waters seemed to illustrate a vision of galactic proportions on their debut, "Down From the Rafters" demonstrates that time itself might lend itself as a co-conspirator on their new record.

Listen: Hundred Waters - "Visitor"/"Caverns" (Stadium Red Session)

You might remember some time ago, experimental musical mages Hundred Waters' announced a collaboration with Yours Truly, Small Plates Records, and their own OWSLA in which they'd put out a gorgeous red 7" vinyl with two new versions of tracks from their self-titled debut. In honor of the 7" finally making its way out into the world (I got mine mere days ago), how about we listen to them shall we?



If you've seen Hundred Waters any time within the past couple months, they've incorporated (as best they can) these new versions into their set and the results are as beautiful as the finished product. The new version of "Visitor" is an acoustic version featuring several brassy additions, namely clarinet, saxophone, and trombone. Hundred Waters enlist the aid for some extra hands for this version and the results are extraordinary - providing a comfy blanket of sounds for Miglis' vocals to billow over. It's also a unique opportunity to actually truly give the lyrics a listen if you haven't already as the textural layers are stripped back.



Despite "Visitor" being one of my favorite album cuts, there's no denying that the new version of "Caverns" featuring a solo Nicole Miglis on piano and vocals isn't the absolute star of the 7". Cut loose from the rest of the band, Miglis reshapes the track into an unimaginably beautiful version of the album's quiet stunner. Miglis gets to display her incredible piano chops and the results are jaw-dropping.

While Hundred Waters' evershifting textural palette is worthy of all the praise and attention it gets, it's nice to hear the fivesome treading newer, simpler territory and offering up something truly special. If you haven't already, you might want to think about purchasing this limited edition gem here.

Pitstop: Day Joy

Clearly there's something in the water down there in Florida. That's possible the only way to explain the sudden outpouring of new bands making invigoratingly creative new music like folky Orlando band Day Joy. While last year we were introduced to the masterful song craftsmanship of Hundred Waters and Levek, this year thanks to those fine folks over at Small Plates Records, we've been gifted with Day Joy and their debut full length Go To Sleep, Mess.



Similarly to other Florida bands who are suddenly making themselves known, Day Joy's greatest feat in taking something familiar and transforming it into something new and altogether unique without diminishing its relatability. Featuring the songwriting chops of Michael Serrin and Peter Michael Perceval III, Day Joy's songs are coated in lush textural atmospheric that elevate their melancholic folk into something more.  And while the lyrics are certainly in no need of face-lifts, steeping them in differing textures gives them a sort of freshness and distinctive impact regardless of how many times you hear them.



While Day Joy's debut album is most assuredly an absolutely breath of fresh air, what's more incredible is their live set. I had the opportunity to see them not once but twice in a row and each show managed to be different but filled with a similar and electrifying energy. When Day Joy took to the stage at Secret Mountains' record release show, they played with a vivaciousness that belied the lethargy of their song's themes and moods intending quite clearly to outdo their already endearingly good show the night before. A intent they no doubt achieved. Unhampered by technical issues and filled with a well-deserved air of confidence, I can say with 100% certainty that everyone who saw them that night left a fan. As well they should.



After seeing them live, the record, while amazing, doesn't do the band enough justice. Live, their sleepy songs invoke a strange sort of excitement as you watch the layers coalesce in real time. Cello, multiple guitars, synths, banjo - it was a musical smorgasbord where each timbre was utilized effectively to create just the right kind of coloring that made your heart ache, pang, and leap especially when paired with Serrin's unexpected, emotive and strangely fitting punky shouts. Live versus on record, Day Joy are almost like two different beasts yet enjoyable all the same. If you have the opportunity to see the Florida band live, I'd most certainly recommend it but a couple dozen spins of their album is worthy of the same rigging endorsement. Check out Day Joy, you'll be glad you did.





You can purchase the debut record Go To Sleep, Mess from Small Plates Records.

Listen: Salt Cathedral - "Dirty Me"

This weekend, Salt Cathedral are getting the chance to once again flex their brilliant live chops opening up for   Hundred Waters and in celebration they've released another new track. "Dirty Me" with it's shuffling percussive intensity is another peak at their far more inticate, laser precise direction. With their Il Abanico days getting farther behind them, the Crossing Colors EP seems like a distant memory - especially when compared to the far more ambling complexity of the new tracks. With each new song, Salt Cathedral get closer to capturing their electrifying live energy and putting that out to be consumed over and over. It's not quite the same as viewing their incendiary performance yet but it's a far more realistic portrayal of what you're in for if you do see them live. So if "Dirty Me" or their "Take Me to the Sea" sound like you're kind of thing, make sure you see them live as soon as you are able like this Saturday at Glasslands Gallery, perhaps.



In case you missed it, here's Salt Cathedral's first single "Take Me to the Sea" under the new moniker.

Pitstop: Il Abanico

It really says something when an opening band can captivate a whole room and will them into movement. Especially in a cynic city of discontent non-movers like New York City. And yet that's exactly what Brooklyn  by way of Bogota fivesome Il Abanico did at their most recent gig opening for Freelance Whales with Hundred Waters.



In a city where indie rock is the norm and hundreds of bands are pumping out things that sound incredibly similar to music that already exists, a band like Il Abanico is a revelation. Intricate and precise with ever-clear tight-knit grooves; tropical-infused percussion, and a intense sense of musicality that seems to burst out of vocalist Juliana Ronderos, Il Abanico are one of those all too rare bands that absolutely must be experienced live. Their live set leagues ahead of their only record: the Crossing Colors EP. Live, Ronderos takes on the daredevil-esque insistence of Raphaelle Standell-Preston of BRAIDS (particularly in "Plath Heart") or SoftSpot's Sarah Kinlaw. The band flittering away at breakneck speeds while maintaining a pristine clarity. Each member's path brightly illuminated; completely unobscured.

And yet despite the impressiveness of the band's pyrotechnic displays of virtuosity, Ronderos remains the group's emotional core. Providing a focus through the blustering stream of notes and drum hits and adding to the spirited technical maelstrom with a vivacious energy of her own. Here's hoping on their next record, Il Abanico can channel the showmanship and tight-rope-walk risk taking of their live set because anything less than that undersells the absolutely incredible band to those that should be into them. If not, at least we'll have have the live shows.  

All Around Sound's Favorite Albums of 2012

As mentioned in my favorite tracks year-end round up, 2012 function more so as the year of the single than anything else and more so this year than any other in recent memory. While one or two tracks were pretty spectacular on their own, throw together with a group of like-minded (or not in some cases) tracks saw them floundering for life, attempting to plug up the holes of sinking ships of hastily recorded follow ups or unmethodical debuts.That said, the year was not without it's fair share of brilliant music moments - albums that not only delivered on the potential of their singles but exceeded them by leaps and bounds. Here are, in no particular order, some of the exemplary records that really took the idea of an full length record to heart. Enjoy!

SoftSpot - Enzo
A relatively recent addition to my list of almost obsessively listened to albums, SoftSpot's premiere full length Enzo gets it's name from the Japanese word for "circle" and delivers as much; the album flowing from track to track with unceasing undulating energy. A listen to Enzo, it's not hard to see why it belongs on here: Sarah Kinlaw's vocals are hypnotic, the band not relegated to merely background players. SoftSpot reach an exceptional balance between balls to the wall frenetic jams and organic unfurling introspectives. There's no clear divide between them either as a track metamorphoses into the other almost without warning but not jarringly so. Everything on Enzo seems natural, seems right with no undue kinetic energy explled as SoftSpot demonstrate their prowess as band of patience willing to ride out the mounting waves of their own composition and benefiting greatly from it.

Bro. Stephen - Baptist Girls
If there's anything I've learned from Mad Men (besides how to drink copious amounts of booze, chainsmoke, and commit adultery like an Olympic champion) it's this: Nostalgia is America's chief good. Case it point: Bro. Stephen's nostalgic reveries are simply too good not to enjoy. It's intimate, heart-felt, and more so about beautifully crafted moments that make your heart bang or flutter than anything else. Scott Kirkpatrick is certainly gifted as a singer and a songwriter, of that there's is no question, but what really makes Baptist Girls is how each individual part of it's construction: from the precious melodies, the subtle creak of wood, to Kirkpatrick's beguiling sincerity, it's how they all congeal together to create these moments similar to yours, similar to anyone's that you can relate to. That are so beautifully simple, they make you nod while maybe you tear up a little. Baptist Girls is more than just a collection of songs, its a series of moments lovingly arranged like a family photo album.

Cold Specks - I Predict A Graceful Expulsion 

While it never really pays to cut down another artist in other to praise another artist, damn if only some of that residual buzz from the Alabama Shakes had fallen on Canada's Cold Specks. Her voice crowning the stormy, weathered soul of her own make. Dark atmospheric pieces with brilliant, triumphant moments I Predict A Graceful Expulsion is a quiet, delicate beauty of an album and entirely deserving of as many eager ears as possible. The fact that it hasn't might be the greatest slight of the year. She doesn't have a big band behind her gospel-inspired take on the singer/songwriter idiom but Al Spx's voice is as sagely, pained, and most important of all sincere as a modern soul singers could be. That's not a dig at anybody, Spx just provides a clean, non-showy alternative to what can sometimes become a flashy, spectacle.  

Jessie Baylin - Little Spark 

Layered with sweet Bacharachian sweeps and Dusty Springfield's classy sensuality, Jessie Baylin's sophomore record is one steeped in past influences but instead of playing like a jukebox album, Baylin utilizes her adoration of  60s/70s pop to convey her own troubles which are not all that different from theirs. At times fun and infectious, others serious and heartfelt, Jessie Baylin's Little Spark is a pop album that thoroughly benefits from knowing its history. The Brill Building lushness and orchestral flourishes provide an insatiable base for Baylin's flavorful additions. It's guilt-free pop you'd wish could set some sort of standard. Not only wearing your influences on your sleeve but using them merely to enhance instead of dominate what you're already skilled in. 

Laura Gibson - La Grande 

With more than a handful of releases underneath her belt, La Grande is Laura Gibson's most accomplished. Seeking solace in a rather old-timey sound, La Grande manages to avoid hokey-ness aided completely by her minimalistic approach to songwriting where she says just enough to have every word resonate with purpose while never quite being contrived about it. Each song belongs, each verse and phrase important. Gibson always been a gifted, poetic lyricist but when aided with the rather creative western-y lo-fi leaning sound on La Grande, the whole takes on a very classic feel. 

Lord Huron - Lonesome Dreams 

A work of unmitigated patience, forethought, and effort, Lord Huron's debut full length Lonesome Dreams could be called a concept album of sorts. While western-tinged instead of the world-inspired sound of their previous EPs, the album fits rather excellently into the Lord Huron canon. Despite the fact that the PR campaign seemed filled with painstakingly thought of detail (a website for the fake author of the novels of which Lonesome Dreams is based on being one of them), Lonesome Dreams is an album that doesn't get bogged down with all that when put into actual practice. The details function more as behind the scenes notes dictating where the story will go without seeing exhaustingly recalled. Lord Huron have a talent for simple-seeming but complexly layered chamber pop and they don't disappoint here. Their sound as full and evenhanded on their sepia-colored opus as any of the more electronic leanings of Ben Schneider's creation, Lonesome Dreams is another stellar example of what a concept album can be: easily to listen to without foreknowledge, enjoyable all around, and tremendously rewarding if you do happen to get it. While I'm sure we've yet to get the full brunt of Lord Huron's innovation, Lonesome Dreams is a particularly wonderful start.  

Daughn Gibson - All Hell 

If you had explained Daughn Gibson to me before playing it for me, I probably would've avoided it like the plague. Electronic/Country hybrid? That sounds relevant to exactly none of my interests. Thankfully no one told me what to expect from Daughn Gibson and I got the pleasant surprise of a wonderful album of unexpected twists and turns and a surprising amount of emotional resonance for such a sample-laden release.    It's rather easy to be dissuaded from an album that feature stories about people appearing on Cops and yet Gibson with his commanding presence, deep booming baritone, and adventurous charm make the album a completely worthwhile endeavor. A rather impressive effort and much appreciate burst of new and interesting in two genres where sameness is commonplace.

Hospitality - Hospitality 

From the angular melodies to the band's tight knit padding for Amber Papini's smart lyrics about city life, post-college, and all sorts of old young people concerns, Hospitality is catchy jangle pop done right. Papini has a real knack for pop hooks that don't quite feel like pop hooks and the band perfectly balances hanging back to give Papini the room her feathery vocals need to alight while making their own presence known and heard. A far different version from the syrupy chamber pop of their EP days, Hospitality provides an excellent base for the band to build upon. An album that proves Hospitality are ones to watch and enjoyable ones at that.

Conveyor - Conveyor
If there was a more vibrant, colorful album released all year, no one certainly told me. Conveyor's self-titled debut is an auditory sunburst, channeling sunny days and unrepressed happiness while building on the group's  minimalistic experimental pop we saw at work on their Sun Ray EP. Quirky but not goofy, Conveyor create exuberant smile-inducing moments of sheer aural bliss while never casting any doubt on their talents as legitimate musicians. Conveyor is a slowly-evolving but always engaging pitch-perfect adventure where every route is the scenic one and every path worth taking. A charming whole filled with tasty, interesting parts.

You Won't - Skeptic Goodbye

Sometimes making truly special folk pop let alone music isn't to try and turn the whole world upside down. It's possible to be creative without necessarily redefining a whole genre of music. Sure, those are what everyone's usually looking for but every once in awhile you stumble upon a record like Skeptic Goodbye from the Massachusetts duo You Won't. It's charming beyond words, fully demonstrative of the twosomes talents, a brilliant collection of songs that works together, but any deviation from pre-established norms is subtle. No look at me attention-grabbing antic here. Josh Arnoudse is a gifted lyricist with the kind of voice that gently commands attention not pleading for it and Raky Sastri is a skilled instrumentalist and well as producer. Their songs are either catchy as all get out or just too good not to want to listen to again and really that's what any good musician to strive for. Skeptic Goodbye is a great smattering of folk pop some with rather anthemic leanings.  

Will Stratton - Post-Empire 

Singer/songwriter Will Stratton is an musician who really gets it. Having great lyrics (which he certainly has in spades) is not all it takes to write a good song. Stratton's approach to songwriting pairs all of his various talents to work to create incredible music moments and excellent mood-changes. In fact, Post-Empire starts with about 2.5 minute orchestral intro before the entrance of the more folk-friendly guitar, a full three before Stratton's first verse is even uttered. This reverence for the actual extra elements of a song is something you'd wish more people cherished, more people employed. Maybe not in such a grand fashion but when an album takes it's time beginning, you know it's going to be a worthwhile listen. In addition to lovely arrangements, Stratton's fingerstyle guitar paired with his rolling, ambling melodies makes for a pretty incredible all-around immersive experience. Post-Empire is the kind of album you can put on and just sit and marvel at the level of musicianship contained within. 

Daniel Rossen - Silent Hour/Golden Mile EP 

Most people refrain from putting EPs on an albums list. I'm not most people. Especially not when you have a record like Daniel Rossen's Silent Hour/Golden Mile EP. On his first true solo outing, Rossen expounds upon the epic arrangements of Department of Eagles and Grizzly Bear with his own solid voice resulting in five songs that are simply spectacular. Astonishingly poetic turns of phrase that stick with you are paired with larger than life instrumentals that seem to grow larger and more layered with each subsequent listen. Topped off with intensely emotive vocals, the EP is a testament to Rossen's own talents and why others are so lucky to have him a collaborating. A beautiful stirring collection of songs that almost weren't. Thank heavens they were.

Efterklang - Piramida
With three fantastic albums under their belt, there was no doubt in anyone's minds as to Danish trio Efterklang's awesomeness or artistic integrity. Then in a move that couldn't possibly be foreseen, the Danes had the wacky idea to go to an abandoned Russian coal-mining settlement in the far north of Norway where they recorded all sorts of sounds that formed the framework for their brilliant, brilliant fourth studio album Piramida. On it, they combine the accessibility of Magic Chairs with the dreamy, atmospheric air of their orchestral-leaning albums. Piramida is a work of incredible artistic ambition proving Efterklang as master craftsmen and truly creatively leaders. Employing women's choirs and orchestras, Efterklang reach a level of collaboration most can only dream of.

Kishi Bashi - 151a 

With a real sense of overarching themes and a cinematic scope, Kishi Bashi's debut is certainly an impressive one. Especially considering the pit of doubters waiting in the wings to compare him to other violin/loop pedal users Andrew Bird and Owen Pallett. While learning from his predecessors, K. manages to offer up a singular, unique voice. Japanese vocalizations are welcome treat from the "oh" and "ah"'s you find in standard pop music while K.'s psychedelic deviations add a distinctive coloring to what would already be an applause-worthy effort to create a debut so strong it has to be heard to be believed. 151a is an amazingly adventurous debut brimming with talent and life.

Lands & Peoples - Pop Guilt 

Though by no means a proper representation of the brilliant new direction the Baltimore lads have taken since losing some of their members, Pop Guilt is a snapshot of the band in their youth and in it you can trace elements for their rugged experimentalism. That said Pop Guilt is a great album in its own right featuring bustling pop choruses, dynamic textural play, and some rather incredible vocal chops in Caleb Moore and Beau Cole. And yet as pleasant and arresting as the vocals can (and are allowed) to be, Lands & Peoples music isn't nor has it ever been a platform for them. Lands & Peoples make great use of textures and layers, using vocals to add more dimension, more depth to their already seemingly fathomless experimental pop ditties.

Port St. Willow - Holiday 

After my discovery of The Antlers' Hospice, I really wasn't looking for a record like that again. A record that would utterly destroy all my emotional barriers and make me absolutely fatigued from just feeling so much but here we are. While not quite as devasting, Holiday certainly falls into the same category of mood music that is simply too beautiful for words. Each and every listen results is a cathartic release and never do you grow numb to Nick Principe's raw, emotion-shredding work. In musical landscape dominated by senseless, vapid music without real meaning, it's a treat to get something this precious, this heartfelt, this real. Principe places himself completely out in the open and the result is an album of absolute elegance and finely crafted pathos.

Levek - Look A Little Closer 

In addition to being a veritable grab-bag of 70s musical styles, Look A Little Closer builds upon the somewhat cartoon-y vibe of Levek's demos with some pretty solid jams. It also happens to function doubly as a sort of emotional catharsis for Levek mastermind David Levesque while avoiding relying too heavily on that to function. In fact, without that little tidbit of information, it's still entirely possible to enjoy Look A Little Closer without feeling like you're missing something; some crucial piece to the puzzle. Instead the album slopes gently into a multitude of jam-laden 70s psychedelic subgenres while not sounding like it's trying too hard to do so. Levek for all intents and purposes casually eludes any notion of genre seeking the far more rewarding option of simple good music.

Young Man - Vol. 1
As under-represented as female songwriters/arts/bands seem to be in the music industry sometimes it seems like they have the most interesting stories to tell. The most clever spins on their tragic love lives, the most affecting vocals. I wasn't actively looking for an exception to that, for someone to describe the trials and tribulations of manhood when I found Colin Caulfield aka Young Man. In a series detailing his rite of passage into manhood, Vol. 1 isn't even the full scope of the Caulfield's experiences. And yet, it does so so articulately, so universally, so accessibly while sounds so personal that Vol. 1 quickly became a favorite. It's a male songwriter singing about something actually important that isn't your standard heartbreak tale or love song. Wrapping up his sagely observations in smart-pop dressings, Vol. 1 isn't just an album that appeals to young men or even older men. It's got a broad appeal while tackling a subject few explore that actually matters.  It's a well-rounded effort equally displaying Colin Caulfield's intelligent songwriting chops while also showcasing the talents of his collaborators and dressing them up nicely in solely beneficial arrangements.

Bowerbirds - The Clearing 

There comes a time in every band's career when they seek to change some form of what they've been doing either for better or worse. For Bowerbirds, they expanded upon their pastoral reveries by reaching a higher level of universal resonance than ever before. Transforming from mild-mannered folk band to high-minded art rock band, The Clearing in a lot of ways shines a light on where Bowerbirds have been and where they are going. Their third album, the album gives little hints about their roots while detailing their lives together in their trademark nature-laden imagery and artful use of metaphor. And while employing far bigger experimentations to their sound, they also apply it at a smaller level giving resident power harmony gal Beth Tacular her lead debuts in "Hush" and "In the Yard", the result is simply amazing. Beth, Phil Moore, and the rest of the talented crew of musicians are in rare form on The Clearing and create an album that both appeals to the long-standing Bowerbirds fan while also shaking things up to keep things interesting and grab some new ears.  Bowerbirds have always been masters of subtle emotion-stirring moments and the certainly don't disappoint as each lyric, each phrase, each musical flourish pulls at the heart-strings, brings a smile to your lips, or just lets you bask in the glory of a truly good band that knows what it's doing.

Hundred Waters - Hundred Waters 

In a musical climate where things sound more than a little similar and overdone, a band like Hundred Waters is a much needed breath of fresh air. One of my favorite things about the band is the utterly unclassifiable nature of their music. Owing equal parts of their composition to electronics and the ethereal sensuality of Nicole Miglis vocals, the band are rather unlike anything I'd heard before in the best way possible. Imaginative, creative, and expansive, Hundred Waters' debut album plays like an absolute dream - consuming you fully from start to finish with it's mesmerizing textural play. Hundred Waters are a band of artists in a completely nonpretentious sense creating enthralling, intriguing multi-layered masterpieces that don't beat you over the head with how art-y they are. Instead Hundred Waters offer up works of beguiling beauty that all fit together spectacularly in the grand scheme of their album. Their album is downright cosmic - raising perceptions about what art music can be while remaining accessibly so. Their palette of sounds are otherworldly and grand - the soundtrack to epic adventures or grandiose happenings while remaining subtle enough to operate on a smaller level. An absolute behemoth of talent and dazzling display of non-grandstanding musicianship.  

Honorable Mentions:
River Whyless - A Stone, A Leaf, An Unfound Door

Lucius - Lucius EP

Black Girls - Hell Dragon

Daniel Hart - The Orientalist (rerelease)