From the folky, slightly dark electronic concoction that was their 2nd album, 'The Moon Rang Like a Bell' to their brighter, more pop oriented latest EP, 'Currency,'
Hundred Waters have an evolving sound that is mirroring the tumultuousness of life.
Asides from casually releasing an EP and soon a new album at the end of the year, the band have also just played at FORM Arcosanti festival (which they founded and curated, and what Pitchfork calls the "festival of the future 🔮". The 2017 headliners included Solange and James Blake.
Their latest single 'Blanket Me,' from upcoming album 'Communicating' has a sound that doesn't sit within the previous albums, but rather seems to balance both, hinting at another musical metamorphosis.
It's filled with so much rich, velvety textures against Nicole's trademark close, breathy, heavenly voice that you'll be thirsty for more.
We were lucky enough to chat with the band on all things beneath the waters.
What kind of responses have you received about Form Festival? How was the experience?
It started from nothing and we kind of had to learn everything ourselves - so everything hasn't gone perfectly.
As a whole though it's been really cool and I think the experience for people attending is
"it looks pretty freaking cool."
The separation between the artist playing and someone attending isn't very wide - we're kind of attendees ourselves and so it's a pretty unique situation.
And you guys chose to perform in Arcosanti - how did that come about?
It kind of evolved over the last two years. When we were first there the idea came up like "oh shit, let's do an album release show here.”
And we did it, and it was really, really special and we thought this could definitely happen at a bigger scale. Probably about to step it up again - every year more ideas come to life.
It's kind of just making something from the potholes in our life.
Your upcoming record, 'Communicating' has been three years in the making, what's been the biggest musical transition since 'The Moon Rang Like A Bell.'
The titles are so different - you've got this poetic sounding one to something more neutral now.
We’re more stationary than the last record.
The last one started on computers and laptops while we were moving, and this one we could play instruments again and not record only when we were finally able to stop for the day.
This record we incorporated actual instruments with all the electronic stuff.
I guess you could say in some other sense how the first time it was more like a glorified house show, and then you learn some things, and you learn what works and doesn't.
Things you wish you would've done you just do them. This latest record just sits well with us with what we're trying to do.
I saw in an interview you said for this record, there was a lot of time spent by yourselves, and coming out of that is a bit difficult. Did the creation process change on this record compared to previous ones?
The music we make is like a reaction to our own lives. It's kind of just making something from the potholes in our life. It's really therapeutic and cathartic.
The act of presenting it is very different because the landscape we execute it in is very different - it's inherently different.
Outside, it elevates the self assured "I'm the shit" mentality which isn't where our music comes from.
Our music comes from reactions to our woes, it's like our blues.
Coming out of blues world into a world that elevates confidence, it's definitely a jolt.
That's interesting in relation to your new single, 'Blanket Me,' because there seems to me to be a disconnect between the lyrics which are like a love song in some sense to the music. They're warm lyrics and the choral parts evoke this feeling of distance and bereavement, and you can kind of hear that through the song - it's an interesting connection. Are you going for a similar vibe with the rest of the album?
I like that analogy. With our music it’s always between the lyrics and the music and the singing, I think the singing is on the far end of the spectrum of coming from a place of solitude.
Nicole records herself entirely alone.
The act of recording and singing is treated very differently, where singing is a very ritualistic thing for us.
The songs start out kind of dainty and small and as they're getting finished the music isn't quite there. Typically the music over the course of time will keep changing and growing and shifting and ends up being this much bigger thing. A lot of times we re-record the vocals or we keep with the original recording and it can create this really close vocal effect.
It sounds like from what I've heard you have quite a lot of influence outside of music, is that a key part of your process?
Can you imagine Van Gogh trying to say kooky, witty shit on twitter all day, that's the kind of stuff we really identify with.
25 Aug - Heartwood Soundstage - Gainesville, FL
26 Aug - Union Green - Tallahassee, FL
23 Sep - The Casbah w/ Banoffee - San Diego, CA
24 Sep - Crescent Ballroom w/ Banoffee - Phoenix, AZ
26 Sep - Kilby Court w/ Lafawndah - Salt Lake City, UT
27 Sep - Bluebird Theater w/ Lafawndah - Denver, Co
28 Sep - Recordbar w/ Lafawndah - Minneapolis, MN
29 Sep - 7th St Entry w/ Lafawndah - Minneapolis, MN
30 Sep - The Empty Bottle w/ Lafawndah - Chicago, IL
02 Oct - The Great Hall - Toronto, Canada
03 Oct - SAT w/ Kelsey Lu - Montreal, Canada
05 Oct - Brighton Music Hall w/ Kelsey Lu - Allston, MA
06 Oct - U Street Music Hall w/ Kelsey Lu - Washington, DC
07 Oct - Music Hall of Williamsburg w/ Kelsey Lu - Brooklyn, NY
08 Oct - Underground Arts w/ Kelsey Lu - Philadelphia, PA
10 Oct - The Earl w/ Kelsey Lu - Atlanta, GA
12 Oct - The Social w/ Kelsey Lu - Orlando, FL
13 Oct - Mana Wynwood - Miami, FL
14 Oct - III Points Festival - Miami, FL