Hundred Waters’ latest release, The Moon Rang Like a Bell, is the sort of swirling, mildly haunting soundtrack best played in the background of dreamy company. What it lacks in energy it makes up for in delicate presence, allowing the listener to focus on other goings-on but never losing track of the album itself. Its chilled, electronic backbone is nicely balanced with the warmth of its folk heart. This juxtaposition provides the listener with a pleasant but subtle experience suited for those late night conversations after an evening out.
The Moon Rang Like a Bell is a vocal gem. Hundred Waters have become master craftspeople at mixing the vocals at a very similar level to the instrumentation—the result being not one part being more important than the other. While other artists are known for this technique (Crystal Castles, Grimes, etc.), Hundred Waters maintains a sense of warmth and depth in their technique by refusing to forsake lyricism for a sound gimmick. This smooth, airy, and harmonic attentiveness allows for a cooler instrumentation—without the shimmery synths this would be nothing short of an indie folk album.
In terms of instrumentation, The Moon Rang Like a Bell takes the genre of electronic folk and pushes it to a whole new level. The percussion remains relatively basic but massively important—a very folk element. Coupled with a mature range of soft to loud (thanks to the ethereal stylings of electronic strings), this dynamic creates the auditory illusion of floating.
While the craftsmanship of this album may be masterful, it is hard to describe as “memorable.” It isn’t something to be sung along to, and it isn’t something to cherish for the way in which it describes a certain emotion—nor is it trying to be. It is touching in its atmosphere, complete in its employment of minimalism. And it is the perfect sort of background album that remains rich throughout, lacking any weak spots.
The Moon Rang Like a Bell