Caribou:
Our Love:
City Slang:
CD/LP/DD:
Out Now:
★★★★★★★☆☆☆
Canadian Daniel Victor Snaith has been creating dark electro and a credible variant of synth-rock for the best part of 14 years, either as Manitoba, Daphni and most successfully as Caribou.
Of late, in particular on 2010 album Swim, Snaith's musical leanings have drawn influence from clubs and DJing and Our Love is no exception. Rather than a full-on hands-to-the-lazers experience, the 2014 incarnation of Caribou is firmly rooted in headphone-listening, although one or two tracks here are, at the very least, likely to incite hip-wiggling and toe-tapping. Mars is sort of The Twilight Zone meets LCD Soundsystem for one long and rather impressive motorik groove, while the album's title-track shimmies into ear-shot and unloads lots of warped and glitchy voice-samples and an inconsistent '90s-style synth-bass. A few minutes in and I'm reminded of Big Fun by Inner City for some reason, minus the funk perhaps.
The rest of Our Love is a combination of atmospheric electro-grind (All I Ever Need), blissed-out synth-pop (Second Nature) or more of the same beatific techno-light that filled Swim. And that's a good thing.
Our Love:
City Slang:
CD/LP/DD:
Out Now:
★★★★★★★☆☆☆
Of late, in particular on 2010 album Swim, Snaith's musical leanings have drawn influence from clubs and DJing and Our Love is no exception. Rather than a full-on hands-to-the-lazers experience, the 2014 incarnation of Caribou is firmly rooted in headphone-listening, although one or two tracks here are, at the very least, likely to incite hip-wiggling and toe-tapping. Mars is sort of The Twilight Zone meets LCD Soundsystem for one long and rather impressive motorik groove, while the album's title-track shimmies into ear-shot and unloads lots of warped and glitchy voice-samples and an inconsistent '90s-style synth-bass. A few minutes in and I'm reminded of Big Fun by Inner City for some reason, minus the funk perhaps.
The rest of Our Love is a combination of atmospheric electro-grind (All I Ever Need), blissed-out synth-pop (Second Nature) or more of the same beatific techno-light that filled Swim. And that's a good thing.