We’re generally okay with them coming back!
[Video]
[5.43]
Tim de Reuse: Six years since a major release, and his style seems have lurched in a tropical direction. I appreciate a good rave piano as much as the next guy, and the tinny cowbell riffs have a Caribou-ish exuberance about them, but the timbre of the whole package is uncharacteristically straightforward. The well-worn dance music tropes are not recontextualized into new soundscapes (as on the endlessly interesting Our Love) but laid flat against one another, and the result is a competent tune that doesn’t sound like it’s even trying to surprise.
[5]
Alfred Soto: How foolish to expect anything but lightly kinetic distorted shimmers when walking into a bar.
[4]
Ian Mathers: Give or take an “Odessa”, I’ve somehow managed to always have respect for Dan Snaith’s whole thing without ever actively enjoying it that much myself. I can feel how well this would work on a dancefloor (it definitely feels like it would get things going with an almost ruthless efficiency), but as much as I’d be happy to run into “Never Come Back” out there, sitting at home I don’t particularly find myself reaching for the play button again.
[6]
Juana Giaimo: My favorite Caribou songs are the ones where his electronic experimentation brightens his songwriting. I understand why “Never Come Back” can be exiting for electronic music fans, but I wish the there was more of the verse in “Never Come Back” instead of depending so much on the same loop over and over again.
[6]
Thomas Inskeep: I’m not sure when Caribou started making synth-y deep house tracks, but I’m down.
[7]
Brad Shoup: A hot tomato soup of a house track: rich and uncomplicated, something I could turn to — or finish — without much thought.
[7]
Kylo Nocom: Background house music is easy to not fuck up. Of course, Caribou’s falsetto, vocal loops, and taste in synths do the impossible.
[3]