Product Description
With its absorption of club culture sounds weaved within subtle pop frameworks, Swim is Caribou's masterpiece, the record he's wanted to bring to fruition for as long as he's been making music. A Canadian from small-town Ontario now based in England, Dan Snaith has been a leading figure in electronic music over the past decade. He surprised critics and fans with 2007's Andorra, a brilliant, electro-tinged pop breakthrough with a timeless grace that made most year-end "Best Of" lists and won Canada's prestigious Polaris Music Prize.

1. Odessa
2. Sun
3. Kaili
4. Found Out
5. Bowls
6. Leave House
7. Hannibal
8. Lalibela
9. Jamelia

http://www.amazon.com/dp/B003A060K6/?tag=imwan-20

The Future of Caribou: All Things To All People All the Time

By: Spacelab Research Staff
January 26, 2010
http://www.thespacelab.tv/spaceLAB/2010 ... aribou.htm



Dan Snaith has opened a Pandora's Box of sounds with his Caribou project: drum and bass, electronic, folk, indie rock, orchestral strings, hip-hop rythyms, lou barlow-like bedroom tape collages, and noisy interludes. That's just a start.

Now he's taken the culmination of those sounds and making them into what might the Magnum Opus for this phase of Caribou. He has a new album titled Swim due out on April 20th via Merge Records, that fed off of his All Tomorrow's Parties experience last year, in which he put together the Caribou Vibration Ensemble. Take a listen, he's giving away the track "Odessa" from the album right now.

“I hope we get to do it again but in some ways it seems like a logical end to the chapter of my music that's been big, messy psych records,” said Dan when talking about the experience of bringing together a big tribe that included Marshall Allen (Sun Ra Arkestra), Kieran Hebden (Four Tet), Jeremy Greenspan (Junior Boys), Koushik, and Luke Lalonde (Born Ruffians).

Which brings us to the new album, Swim. It's more than Caribou 2.0 or Caribou 3.0, it might Caribou Infinity. He's using new technology to mix the music and do new things in the live setting, so he can integrate electronics, visuals and sound into one complete and tight experience.

“Now we can play the mix onstage like a dub mixer would - but even moreso than a Lee Perry because almost everything can be manipulated - not just the things that are controlled on a recording studio mixing desk. We can get that washing-around feeling and the unpredictability of sounds undergoing changes all the time.”