This is the first in a series where we take off our Fulham hats, put on music-blogging hats, and suggest a band to check out this summer. Apologies if you think our selections suck, but we’d rather write about this than banal transfer rumors.
With that disclaimer said, truth be told, I’m pretty bad at reviewing music. Or at least I’m very self-conscious of my ability to do so. And so trying to convince you to listen to Hundred Waters this summer is incredibly difficult as their music is quite complex and varied when compared to anything else I, and probably you, listen to.
But, much like with the band Dirty Projectors, or múm (of Finally We Are No One era; whom I think they sound like the most) if you are able to go beyond the initial thoughts of “What the hell am I listening to?” and the subequent inability to compartmentalize them into any genre, there’s a treasure trove to behold.
The Gainesville, Florida-based band takes musicality quite seriously: there’s maybe one song that could be even remotely summed up as “catchy”. Instead there’s a deep appreciation of sound and rhythm, and how sound and rhythm can support vocals; unlike most music today that seemingly has vocals plopped on top of sound.
There are so many sonic elements, be it woodwind, percussion (in “Theia”), electronic (er, most of the album), flute (in “Visitor”), lyrical word play (in “Me & Anondyne” and “Boreal”), keyboard (in “Thistle”), that you could easily argue they wrote compositions and not songs. Each time I listen to the album, there’s a different piece I don’t recall hearing before.
Oh, and the vocals. Keep an eye out for Nicole Miglis, whose range may best utilized in the wandering “· · · — — — · · ·”
So give Hundred Waters a listen to this summer. May take a few go rounds, but if you stick with it, you’ll wish you heard of them sooner.
(videos via Off The Avenue)