Will somebody please make Dan Snaith an honorary Whittie? This is the guy whose moniker “Caribou” was the product of an acid-induced vision quest in the wildest of Canadian backwoods. This is the same guy who earned his Ph.D. in algebraic number theory, just to belittle academics everywhere with claims of making gold records in his spare time. Snaith’s fascination with nature and foreign countries continues on the remarkably lush “Andorra”, but this time he’s thrown people into the equation; girl people, specifically. However, don’t mistake his transition from hammerhead sharks to women named Desiree as losing his edge. These are some of his fiercest songs to date.
There are some humble artists out there that never want to admit that they knew which of their songs would be the hit single. Ben Bridwell of Band of Horses thought people would really dig “Wicked Gil”, but the captivating crescendos of “The Funeral” have become their calling-card. I can’t imagine this naiveté would be possible with the lead track “Melody Day” on “Andorra”. The pulsing, infectious ditty is unmistakably a hit. It’s the aural equivalent of playing the Rainbow Road level in MarioKart64 well into the early hours of the morning. I challenge you to avoid imagining butterflies, birds, or some other cute shit when you hear the twittering flutes and jangling guitars. Snaith has really hit his stride with his vocals too; his voice gently reverberates across each sonic landscape he constructs. And he seems to be inviting the awkward concert round-of-applause-before-the-song-is-actually-over with a late-song lull only to return more ferociously than before. Suffice to say, goodness gracious.
Andorra is one of the sunniest albums you’ll hear all year. Snaith takes the best parts of every post 60’s musical era, and condenses them into roughly four and a half minute audio collages. There are elements of the Beatles (imagine ?uestlove on the drums instead of Mr. Conductor from Shining Time Station) and a heavy dose of psychedelic influences. The rampant use of heavy reverb lends an eerie, ethereal tone that can only described as a true stardust fantasy. Each meticulous arrangement is entirely his own, as Snaith notoriously maintains a death-grip on the production of each song, start to finish. Surprisingly absent are the drums on one of the album’s finest tracks “Desiree”. Barring a few clangs of a triangle, Snaith’s complex, signature drumming is replaced by strings and a hypnotic chant of the stripper-esque moniker. The percussion on “Irene” is entirely drum machine and coupled with the slightly off-kilter melody, it is enjoyably haunting.
It’s remarkable to think that the man formerly known as Manitoba has been able to produce such a consistently excellent level of music on each of his albums. It seems as if he uses any instrument he can get his hands on and seamlessly incorporates it into a distinctly Caribou song. As an album, “Andorra” does not disappoint. Each song seems to exist naturally and cohesively with the rest. My only advice is to play this record before summer’s end for maximum effect.
