Music like Hundred Waters' doesn't often come out of Gainesville, Florida. (I lived there for 24 years, but maybe they were just the wrong years.) The band's prolific early output is the farthest thing from hardcore, the genre most associated with the region — that abundant anger, I always assumed, welling up from being stuck in a place where homogeneity is prized, backed into a corner by the creative backwaters of Alabama and south Georgia. Yet there is as much natural beauty in that area as in any other part of the country: expansive prairies, unspoiled creek beds and bottomless blue springs. These are the sources of Hundred Waters' classical electronica. Dive in anywhere: The wide-eyed eponymous debut weaves together an avant-garde pop band, a chamber quartet, an a cappella group and a deep lounge act. Released 18 months later, The Moon Rang Like a Bell (OWSLA) marries Bjork and James Blake, challenging FKA twigs for the most unique statement record of 2014. Opener "Show Me Love" drops a studio vocal that's half R&B and half church spiritual, and then the curtain falls on "Murmurs," a showcase arrangement of looped hooks, negative space and fizzling effects strung intermittently like beads on a legato thread. "Down From the Rafters" wafts in the breeze for 90 seconds before dropping into gear, a playful pinball game of ringing bells, giant-step beats and smeared orchestral warmups. With what is said to be 50 more unreleased cuts in its queue, maybe that first observation isn't so accurate after all. Mitski opens. Tickets $12 in advance, $15 day of show.