What’s that song called again?
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[5.50]
David Sheffieck: Halfway between dance track and lullaby, even once it picks up that pace after the slowest opening minutes ever, and never quite convincing as either.
[5]
Alfred Soto: Until the tempo change, reminiscent of quieter British takes on R&B like Imagination. How you feel about either depends on tolerance for sop and blankly wet vocals.
[5]
Brad Shoup: Like someone paddling their way out of a melted-sugar morass. This sort of pitchshifting toward dance-pop transcendence is already being done overseas; I have no idea why Merge is getting into this game.
[4]
Patrick St. Michel: Dan Snaith is capable of making really good dance music, but “Can’t Do Without You” seems content to just lead up to… nothing worthy of a prolonged build.
[5]
Thomas Inskeep: Trancey in the Steve Reich sense, not the Oakenfold one — though like an Oakenfold track, it builds and builds. It doesn’t really go anywhere, but the trip is fun nonetheless.
[6]
Megan Harrington: Maybe it’s time for an oil change or a juice detox, but I get so caught up in the ultra-repetitious first 30 seconds of “Can’t Do Without You” that I fall asleep before the breezy payoff. It’s like making plans for all the ways you’ll relax during your day at the beach and then sun sleeping because it’s too perfect to stay conscious. Sure, Caribou could have packed an energy drink, but the song’s snooze inducing tick-tock is not without merits.
[5]
Will Adams: Reaches an emotionally resonant point in its final forty seconds, when the tempo accelerates and the vocals break from their standstill to spill their guts. Were the preceding three minutes compelling enough to warrant returning.
[5]
Anthony Easton: In its repetition, almost like a liturgical exercise, closer to a prayer than a song. Has a solid hope and a discreet optimism.
[9]