Every five years, Canadian musician, DJ and producer Dan Snaith takes a break from his main project, Caribou, and releases club-focused tracks that he describes as quick fixes. But the contrast between the club edits of Daphni’s debut ten years ago, learned from afro-funk and techno, and the sun-drenched indie electro-pop of his Caribou albums of the early 10s was still as great as the concert halls he regularly visited fills up, both projects got closer and closer over time, the differences became smaller.
The last Caribou was a flawless, albeit rather weak sample house record charged with funk, on CHERRY the escaped soul is caught on the one hand by partly harsh beatless synth saws and on the other hand by straight, gently pounding house, which still never sounded so dry. Each track acts as a tool designed to provide DJs with the perfect transition at the right moment, which is not to say that each track doesn’t build enough identity of its own to accommodate the deliberately repetitive moments.
Bubbling acid basses, French house and swing overlay the unusually thin, minimalistic sound. With the last two albums, Dan Snaith has completed the necessary paradigm shift in both of his projects. Only one thing remains the same: Daphni brings the more exciting music.
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