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Kicking things off on a psychedelic tip, i’d like to take a moment to shine the spotlight on a Canadian artist i’ve been following for a long time now. Daniel Victor Snaith a.k.a Caribou, has clearly been an extremely busy man of late, and it shows throughout the entirety of his album ‘Swim’, released earlier this year. Now obviously this isn’t going to be the most hot-off-the-press information out there, but I felt there was no harm in giving the man a bit of attention, for the benefit of those of you who may not have stumbled across a Caribou release before now. As I said before the whole album is superb, but if I had to choose, i’d opt for ‘Kaili’; an amiable chunk of downtempo loveliness that’s sung with the type of restrained intensity that makes you sympathetic to the tracks underlying emotive feel. It never quite breaks through to the soaring bombast that it initially promises, but nevertheless it’s still an awesome example of a man at the very top of |
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As soon as i’d heard this track, I felt an overwhelming urge to shout about it. He’s a fairly new name to the House scene, but considering his debut efforts have already been picked up by the notable Spectral Sound imprint (home to the likes of Matthew Dear, Seth Throxler, and Audion), you know you can expect nothing less than the impeccable. Right from the off, it presents itself as a vigorous Mardi Gras that (in my opinion) sounds utterly engaging when played a little faster than the set tempo. That thundering bouncy bassline chugs away merrily underneath the cascades of Flamenco-esque percussion, and the hypnotising looped vox lends the track a rare immediacy that will command attention and demand action from your dancefloor in equal measure. By the time the beat gatecrashes it’s way in the third time round, underscored by the sound of carnival whistles, you’ll probably be frantically racking your record collection to find a track that will follow it without sounding hopelessly beige... It really is that massive. |
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I heard this on Joris Voorn’s Essential Mix a short while back, and it was one of those records which genuinely made me drop what I was doing (Gardening... it’s the new raving.), and rifle through the online tracklist to find out it’s name. Villalobos, Hawtin, Luciano et al have been absolutely hammering this minimal monster all summer in Ibiza, and for good cause. I have reason to suspect that the original incarnation of this record surfaced as a bootleg remix of the original (and vastly different) song, although this full official release on Domino was always going to be on the cards with quality of this calibre. Using the haunting vocals of Molina’s leftfield take, he’s created something which navigates its way to the intended destination with infinite patience, whilst taking this time to allow each subtle element to develop to its full promise. In a nutshell, it’s a beautiful record that fully justifies the colossal 10-minute running time (and I don’t say that about many records). Moreover, I think the majority of its appeal lies in its crossover potential. This has probably worked its way into the record boxes (metaphorically speaking) of DJ’s like Sasha and Digweed just as much as the Minus crew are supporting it. In a world where ‘genre’ has become the tiresome focus of chin-stroking bores and Dance mag journo’s, i’m all for a record that won’t get pigeon-holed. |
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