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Our Love

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iTunes Review

Following the liquid beats of his 2010 breakout, Swim, Caribou’s Dan Snaith has fallen further in love with the dance floor. In his entrancing follow-up, Our Love, Snaith blends house, hip-hop, garage, and vintage soul. On “Can’t Do Without You,” Snaith flips a slowed-down soul sample into a vocal mantra that eventually bursts amidst rave-ready synths, while on late highlight “Mars,” he mixes intricate drum patterns, hip-hop samples, and one very nimble flute melody.

Customer Reviews

Nearly Great

Not quite as great as the one-two punch of “Can’t Do Without You” and “Our Love” suggested it would be. For me, the guest vocals on “Second Chance” are a mistake. The record loses the intimacy/personality that makes a track like “Can’t Do Without You” so memorable. “Julia Brightly,” the track that follows it, with its sampled vocal, is much better but too truncated. The record ends well enough but it loses a bit of focus/intensity/interest in the middle section. So a good record, indeed a very good record, that could have been a great one. 4 1/2 stars.

Light on the special sauce

Classic Caribou/Manitoba reveals sounds escaping from the vast expanses of organic circuitry that power the surface of the Canadian wilderness from deep layers below. Despite a few bright spots--and there are bright spots--much of Our Love feels synthetic compared to previous albums, taking a step closer to pop. With the underdeveloped ideas of Drive and Julia Brightly, the album lacks what I love most: one of those uniquely Caribou-esque anthems that transports me across landscapes to another place (see Niobe, A Final Warning, Barnowl, Bowls, The Barn). Fortunately, though, the other day I realized a lot of Dan Deacon stuff picks up from where Swim and Andorra left off in some ways better than Our Love does, so I'm enjoying listening to that as well.

11 OUTTA 10

This is more than just a new Caribou album. This is special.


Genre: Electronic

Years Active: '00s, '10s

Dan Snaith's early recordings as Manitoba underlined his status among the chattering electronic classes as one of the brightest talents to emerge during the early 2000s. Having already proved himself master of the sublime with his 2000 debut EP, People Eating Fruit, the Canadian's subsequent Paul's Birthday EP opened him out even further. After moving to London, he released an excellent second album, Up in Flames (2003), that saw him become a darling of critics. One year later, however, Snaith was...
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Our Love, Caribou
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