Dan Snaith
typically reserves his most club-friendly music for his
Daphni
alias, and with 2022's
Cherry
, he embraced his Detroit techno and filter disco influences more than ever. However, his passion for underground dance music unexpectedly took over his main project,
Caribou
, and with
Honey
, he's suddenly making straight-up bangers and bassline anthems. He's also experimenting with technology more, using artificial intelligence to generate voices or alter his own vocals, creating different perspectives and modes of expression within his music. "Broke My Heart" begins the album with skipping beats and feminine-sounding vocals, mixing U.K. garage with
PC Music
-style bubblegum bass. "Honey" has the type of outrageous bassline you never though
Snaith
had in him, along with a brief but crucial vocal snippet ("you'll always be my honey") rather than a lyrical song structure. "Volume" channels nostalgia for
's introduction to electronic music by repurposing
M/A/R/R/S
' groundbreaking, sample-driven 1987 hit "Pump Up the Volume." He shifts the track's textures and sparingly drops the
Rakim
sample while adding other vocal parts, resulting in a danceable articulation of longing and desire. "Come Find Me" mixes brighter synths and choppy vocal samples with pumping beats and more pronounced statements of affection and yearning. "Over Now" has an '80s synth pop sheen and French house beats, along with the most
-esque vocals on the album. "Campfire" circles back to the chirpy vocal snippet from "Broke My Heart," but attaches it to wistful guitars and deconstructed rhythms, throwing in an unexpected rap bridge. "Climbing" is vibrant, gleeful disco-house with a touch of Baroque synth melodies, and the exhilarating "Got to Change" ends the album by building to a fizzing climax. Much like his longtime collaborator
Four Tet
,
has fully entered his festival dance era, making some of his most outwardly expressive music by injecting his own personality and emotions into superbly crafted club tracks. ~ Paul Simpson