Braids, the Canadian experimental pop group who released Native Speaker in 2011, have reinvented themselves in the making of their second full length. After 18 months of touring in support of their debut, along with the departure of a band member, the group secluded themselves in their Montreal studio for a year of writing and recording. While Native Speaker was written in an organic and live environment, the group sought to explore a more introspective and electronic approach to songwriting. Sonically, the songs from these sessions are delicate and tight, yet thoughtfully open up to the rich lushness reminiscent of their older material. Lyrically they are honest and vulnerable, demonstrating the group’s emotional growth and maturity since their last record.

Hundred Waters

Hundred Waters was woven together under the spell of a viscous Floridian summer, from a home on its own in the woods amidst a city. The music sets sail into ancient seas, subtly shifting through worlds of howling silence, borealic tales, and briarpatched exotica, ultimately arriving into the arms of a caring embrace.

Nicole Miglis narrates the journey alongside Trayer Tryon, Paul Giese, Zach Tetreault, and Sam Moss, in Hundred Waters’ debut release. The album was composed, recorded, torn apart, reshaped, spat on, shined, and tucked in at their Gainesville home through a method of remote collaboration and thoughtful solitude, reconvening at the helm to gather their threads into rope, and pull.

Kodak To Graph

Allured by pulsing incantations of cassette grain & VHS blips, live instrumentation and other found sounds, Kodak To Graph's Michael Maleki (22) delicately floats listeners through blooming clouds of synth-washes, haunting reverberations, and propulsive rhythms. Maleki's candle-waxed R&B & flower-trailed soundscapes weave together the nostalgic tones and colors reminiscent of a quiet childhood with the urban bounce and rhythmic disposition of the more modern spirit.

The past couple of years have conditioned us to expect a song called "Coast" to do a number of things that could be described with some variant of "wavy." That isn't totally unwarranted on the lead single from Emily Reo's debut Olive Juice. Beyond its lyrical tether to the word "seaside" and affiliation with Floridian label Elestial Sound, "Coast" is a hi-fi rendering of the kind of lo-fi, hypnagogic home-recording techniques that have become de rigeur as most singer-songwriters take on the additional role of producer: loops on top of loops, abstract self-harmonizing, vintage synth lines, brittle drum machines.
But "Coast" is also something distinct. From the very beginning, Reo sounds swept off her feet, gliding effortlessly from one melody to the next and for nearly eight mesmerizing minutes, synths ebb out of the mix only to return later and a light disco beat sprawls out towards the horizon. It's a leisurely and lovely synth-pop sunset.


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