With three members twisting knobs and pushing buttons, and the other two wielding drumsticks (and sometimes a flute), Hundred Waters isn't a conventional five-piece band. They're unconventional in more than their instruments too as they are carving out a new sound, akin to Braids but different still. There are so many sounds and sonic themes happening simultaneously that at times it can be difficult to even find the beat, especially with this being my first real exposure to their music. Despite that I could still appreciate what they're doing and feel that it would have been great to have spent some time with it through headphones to try and decipher it before seeing them live and having all the secrets given straight away. Unlike Braids there isn't as much build-up and looping, rather relying on layering of their varying keys and synths with the sometimes seemingly misfiring percussion. The two ladies covered the vocals - both together or back and forth - singing sounds as often as they did words. The percussionist of the two could really bring a lungful of air out as a strong high breath that was quite impressive. It seems that Hundred Waters have a great deal of sonic potential, though it may be best exhibited in the studio.
Out of the gates Freelance Whale's lead singer played his banjo which necessitated a slightly quieter sound, allowing for the accordion box played by the female bassist to resonate. Once the banjo was swapped in for the guitar the energy amped up a little though things never completely got airborne despite a fairly full Mod Club on a snowy evening. Throughout the core of the set they hit on a few of my favourites, culled primarily from their debut Weathervanes, including Hannah and Generator ^ First Floor. On that album they really struck me as an upbeat Death Cab for Cutie (ya know, if Ben Gibbard was actually happy) and having now seen them live I firmly stand by that. Yes, this likening is primarily due to the vocals but there are other hints too. There are traces of Belle & Sebastian as well - but then again where would DCFC be without B&S? As the set progressed the instrument swapping became more varied and there was a reemergence of the banjo, as well as horn and xylophone. Nearing the end an acoustic guitar joined in to bring it down. Not done yet, they returned with a two-song encore of entirely great songs I'd completely forgotten were theirs. The encored earned another hearty though not over the top response from the Toronto crowd who then donned their toques and headed back into the blustery night.
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