Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.Dan Snaith used to call himself Manitoba, until he was subpoenaed for trademark infringement by "Handsome" Dick Manitoba, formerly of the useless proto-punk band The Dictators. Unwilling to waste money on lawyers, Snaith simply changed his nom de disque to Caribou for this follow-up to 2003's Up in Flames, though his working methods remain largely the same, with pieces built from layers of sampled sounds. Tracks like "A Final Warning" and "Barnowl" tick along smoothly like Can's Future Days, with a similar sense of cosmic outreach; "Pelican Narrows" features cascading droplets of twinkling keyboard tones, gamelan-style; "Drumheller" uses reversed string samples to acquire the smeary texture that helped to make Up in Flames so mysteriously moving. Balancing these is the more pastoral, guitar-based strain of tracks such as "Hello Hammerheads". And there are vignettes such as "Hands First" (a brief welter of drum-rolls) and "Subotnick", which, despite being named after one of the great electronic compose
Dan Snaith used to call himself Manitoba, until he was subpoenaed for trademark infringement by "Handsome" Dick Manitoba, formerly of the useless proto-punk band The Dictators. Unwilling to waste money on lawyers, Snaith simply changed his nom de disque to Caribou for this follow-up to 2003's Up in Flames, though his working methods remain largely the same, with pieces built from layers of sampled sounds. Tracks like "A Final Warning" and "Barnowl" tick along smoothly like Can's Future Days, with a similar sense of cosmic outreach; "Pelican Narrows" features cascading droplets of twinkling keyboard tones, gamelan-style; "Drumheller" uses reversed string samples to acquire the smeary texture that helped to make Up in Flames so mysteriously moving. Balancing these is the more pastoral, guitar-based strain of tracks such as "Hello Hammerheads". And there are vignettes such as "Hands First" (a brief welter of drum-rolls) and "Subotnick", which, despite being named after one of the great electronic composers, features a series of dramatic three-chord guitar flourishes. The best tracks are the mantra-like "Brahminy Kite" and "Lord Leopard", whose keyboard progressions sound like a "classical rap" from the likes of Kanye West.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments