Review: Lamb - Backspace Unwind

(released 13.10.14)

Backspace Unwind is electronic duo Lamb’s (Lou Rhodes & Andy Barlow) second release since they reformed in 2011. Their previous album, 5, signalled a change from the drum’n’bass/trip-hop/jazz blend, that had brought them initial recognition, to a more stripped back sound. Backspace Unwind takes a similar minimalist approach whilst appearing to draw influences from a more diverse range of genres. There is less of a consistent sound throughout the album than 5, with the record flitting between genres like a impatient child. For example, the opener, In Binary, features a distorted synth characteristic of the industrial techno created by Gesaffelstein, the pulsing bassline of the title track reveals allegiances to trance, Nobody Else has a definite jazz slink to it reminiscent of Portishead, and the chanting sample and vocal phrasing in Only Our Skin makes the song sound like a Roman Catholic sermon.

One of the most prominent features of the album is the dichotomy between the more electronic focused songs, and the songs which feature more organic instrumentation. Unlike some of Lamb’s earlier work there is less overlap between these two elements of their sound. This results in a definitive split between songs which can be categorised as dance-orientated, featuring throbbing basslines, processed synths and grooved percussion, or song-orientated, led by Rhodes’ voice, accompanied by piano or strings. Whilst this dynamic keeps the flow of the album interesting, I find it creates a feeling of incoherence throughout the record. For example, the techno stomp of In Binary feels incongruent with the piano-balladry of As Satellites Go By and the only common sonic element in a lot of the songs seems to be Rhodes’ voice.

Despite the disconnected feel of the album as a whole, Backspace Unwind has some interesting moments. Barlow’s intricate soundscapes often create an engrossing backdrop to Rhodes’ exquisite voice as is clear on tracks such as What Makes Us Human and Seven Sails. Lead single We Fall in Love is one of the albums stronger offerings and is a prime example of the benefits of their new stripped back sound; opening with a driven rhythm accompanied by sparse vocals, a pulsing synth line is introduced followed by a shimmering bell-like melody to contrast the otherwise dark feel of the song. Doves and Ravens is another highlight, featuring a cinematic string arrangement by Tom Trapp, Rhodes’ distorted vocal whispers through a glacial piano line whilst subtle percussion swells and falls with the flow of the song.

Backspace Unwind isn’t a bad album, however, I didn’t feel there was that much that really grabbed me. The band cited their influences for this album as “space” and “taking a birdseye” view of the universe, I don’t feel they took this concept as far as it could have been taken. Aside from the odd shallow reference to stars or satellites, I felt this opportunity for quite an interesting theme was squandered. A factor contributing to this may have been Rhodes’ new foray into free-association lyrics, which seems to encourage writing without thinking. This may have added to the lack of depth and cohesion I perceived when listening to Backspace Unwind.  On the contrary the combination of Rhodes’ unique voice and Barlow’s original production still manage to create some captivating moments on this record.   

Review: Caribou - Our Love (City slang) (Released 6 October 14)

Our Love is Caribou’s (Dan Snaith) first LP since 2010’s Swim which topped several album of the year lists and brought him significant crossover recognition. Since then, Snaith has supported Radiohead on a world tour, released a club-orientated album Jiaolong as alter-ego Daphni, and had a daughter. All potential factors contributing to the more mature and cohesive sound Our Love has compared to Swim.

Although the sound on Our Love is a definite progression from Swim, lead single Can’t Do Without You retains much of the sonic palate which Caribou has become known for; organic drum samples, emotive chord progressions and subtly manipulated vocals all feature here, characteristic of Snaith’s unique brand of dance music.  The song is centred around a melancholic, falsetto refrain under which a subdued beat is gradually built up to a euphoric climax of synths and reverb soaked vocal samples creating a sound which seems to encapsulate the unified atmosphere of  a festival crowd. The second single, Our Love, also has similarities to Snaith’s prior work. The breakdown is a shameless tribute to Inner City’s Good Life and has echoes some of Snaith’s more dance-orientated work as Daphni. As the song progresses the influence of 80s house becomes more apparent, with stabbing synths, splashing hi-hats and thumping kick drum stating Our Love’s kinaesthetic intentions. 

A feeling which seems to run through the album is one of intimacy; a tone which was not present in Swim. This may be because this is the first record where he has attempted to communicate with the listener. He has also stated his desire to make this album his most personal and connected work to date (a clue to this may lie in the record’s title). Evidence of this is most clear on the closing track Your Love Will Set You Free where Snaith’s soft falsetto longs for a lost love over a subtle house beat featuring violin from Owen Pallett. Another factor in the more intimate approach taken in Our Love may be Snaith’s own maturation; in a recent interview he acknowledged the autobiographical value of music and that he has become more reflective, questioning the things that matter to him most. This presumably includes his recent daughter, with whom he listened to a lot of old music with whilst he was recording the record.  Snaith suggests that the classic soul which he shared with his daughter may have unintentionally contributed to the warmness of  the record. Additionally, the influence of classic soul may be seen in the song titles. For example, Your Love Will Set You Free, Second Chance, All I Ever Need, Can’t Do Without You  and Our Love would not look out of place on the rear sleeve of a Supremes compilation.

Another apparent influence on Our Love is hip-hop and R&B production. In interviews Snaith has expressed his interest in the “synthetic, hyper-digital, glossy sounds” of contemporary hip-hop and R&B production and has said that he expected the record to end up much more polished and transparent sounding. Although the end product is much more personal and warm, there are certain moments where Snaiths initial inspirations are more evident, such as in Silver and All I Ever Need, where the sparse high hat flourishes and choice of drum samples are a definite nod towards hip-hop. However, the influence of contemporary hip-hop and R&B production is most clear in Dive. Here a distant synth melody circles above a diced vocal sample before crashing down in an ocean of reverb. The dream-like atmospherics, constant bass and R&B sample towards the end are particularly reminiscent of producers such as Clams Casino and Holy Other. https://www.youtube.com/watch?v=-7dMrt3iKDA

Second Chance provides a brief departure from the more dance based songs on Our Love and introduces Jessy Lanza singing over a shuddering synth progression which pans, circles and dips into dissonance. The Hyperdub  signed singer’s ethereal voice is a calming contrast to the restless, persistent instrumental, creating a sound which could see Second Chance lauded as the one of the most original R&B songs this year. Additionally, the use of a female voice is a refreshing change of perspective in an album which had previously been viewing love from one side.

Our Love is a very good record. It is more confident and cohesive than Caribou’s previous work, it also feels more personal and intimate. This level of connection with the listener is very rare in electronic music and is a factor which certainly helps cement Dan Snaith as one of the most interesting electronic artists around at the moment.