Ben Beaumont-Thomas guides us through the strange and the sublime, from Greek synth sounds and boffin-approved glitch music to the dance crossover album of the year
Caribou: Dance music isnt just escapism. Its about life
This week sees the release of Caribous Our Love, the electronic record most likely to cross over with house kids and dads alike in 2014. In my opinion, his last album, Swim, is one of the two or three greatest dance LPs ever made, a miraculous work that showed that genre boundaries are only useful for record shop taxonomies. It was refreshingly unencumbered with the pathetic tribalism of dance culture, stumbling into the world of house and techno through an iridescent wardrobe. Our Love more consciously connects with those styles and as such isnt quite as magic, but Im being nitpicky: to hear Dan Snaith take on classic diva lines in his quavering, lip-wobbling treble is still a rich pleasure. Second Chance is one of the many highlights a sister to Swims astonishing Kaili, it features next to no drum programming and yet rides an undeniable groove, with Jessy Lanza cooing an R&B top line. It also features what might be Snaiths most beautiful innovation: synth chords that distort and bend, as if under the weight of sheer digital information.
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by Ben Beaumont-Thomas via Electronic music | The Guardian
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