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Review: Caribou’s Suddenly Is an Inviting Dive Into Familial Waters

The album takes family as its central theme with songs that express the perspectives of a range of characters.

4.5
Seth Wilson

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Caribou, Suddenly
Photo: Thomas Neukum

The narrative arc of Dan Snaith’s career as Caribou (and Manitoba before it) has been one of increasing devotion to humanity. His earlier work was chilly enough that the Shakespeare-referencing title of 2005’s The Milk of Human Kindness could be read as tongue-in-cheek. But starting with 2007’s Andorra, Snaith began delving deeper into human emotions. Our Love, from 2014, was a tender examination of, well, love, while his latest, Suddenly, takes family as its central theme—the title comes from his daughter’s obsession with the word—with songs that express the perspectives of a range of characters.

Snaith builds his songs with a cool, measured precision, as one might expect from someone who holds a doctorate in mathematics, and one of the fun games to play with this album is unpacking its myriad references and samples. “Lime,” for instance, boasts the peppiness of a Röyksopp song filtered through the muzak setting on a Casio synthesizer. “Never Come Back” possesses the propulsive beat of a ‘90s dance-floor filler. “Like I Love You” is built on the bones of what sounds like an early-aughts R&B track. The album rewards this type of reference-spotting, and it’s a treat to listen to the way such a masterful musician mines his own record collection for inspiration.

What makes the album so spectacular, though, is Snaith’s voice. This is the first Caribou effort on which he sings on every track, and his vocals are mixed higher than they have been in the past. Throughout, his mesmerizing vocals elevate songs that might otherwise scan as banal. “Like I Love You” trades in a fairly well-trod sentiment, with Snaith rhapsodizing about an ex-lover, but he wrings every last drop of emotional possibility out of lines like “Does he love you like I used to do?/Do you ever miss me like I miss you?” Elsewhere, “Magpie” finds Snaith employing his vocals to maximum impact. The first half of the song, which features a lovely, McCartney-esque melody, is buried under compression that makes it sound like it’s playing from the busted speakers of an old cathode-ray TV set. That distortion falls away halfway through, as Snaith sings, “And now the world is catching up to you,” and the song blossoms, capturing the feeling of being in the first flush of love. This shift is but one among many moments of striking revelation throughout the album.

The brief “Sister” is a gentle, affecting lullaby about the responsibilities of love. Amid a whirl of rich, warm synth notes, Snaith sings softly, “Sister, I promise you I’m changing/You’ve had broken promises I know/If you want to change it you must break it/Rip it up and something new will grow.” At the end of the line, a burst of static introduces a sample taken from an old tape of Snaith’s mother singing his sister a lullaby. The political overtones of the lines are obvious, but the personal nature of the sample gives the song a weight that perfectly sets the tone for the rest of the album. What he’s addressing isn’t as important as how he does it.

Label: Merge Release Date: February 28, 2020 Buy: Amazon

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