Review: It's quite shocking it's been six years since the last Caribou album, 2014's knockout "Our Love". Dan Snaith has never felt the need to rush his music out, and there was an interim Daphni album in 2017 to be fair to the guy, but here we are with a new set that sees Snaith returning to a little of the delicate songwriting and winsome electronica he forged his reputation on in the early days. There's a lot going on in here, from smooth as silk yacht rock-isms to deliriously modernist cut ups and more than a few wild pitch shifts to keep listeners on their toes. It's playful and heartfelt, and rarely lingers in one place for too long while still retaining a sense of calm. It may be not at all what you expected from Caribou's return, but we'd wager it's even better than you hoped.
Review: Turkish synth pop pride Jakuzi land a major record deal with the always trustworthy City Slang. Debuting in 2017 with the indie pop Fantezi Muzik LP, the trio, straight out of Istanbul's yet to be mined alternative pop scene, sees the group this time around deliver something that's slightly darker than before. Darker in the sense, that is, that their music now sounds more like Depeche Mode and The Sisters of Mercy, or even These New Puritans, than the sun-catching sounds of their previous release. Gothic tendencies to their instrumentalisation remain throughout the LP, and dark disco plays a part too alongside strands of post-punk guitars that all coalesse into a LP that will no doubt appeal to the shadier realms of pop and synth music lovers.
Review: If you're a fan of Antony and the Johnsons then Tindersticks should be familiar by now. Or at least Stuart Staples' voice should be, even if you've never come across the band before. But whereas Antony et al exist in a flamboyant queer disco cabaret, this lot occupy a place far less counter cultural, much sweeter and more tender. "No Treasure No Hope" a string-infused, piano-focussed chamber pop declaration of sweet nothings, both for those who are still with us and those who have come and gone. And it's not all romance. Comparisons are made between father's relationship with son and relationship with his own father ("The Old Man's Gait"). Tears falling into beers ("Trees Fall"). And delightful, innocent worlds are presented via songs like "The Amputees". Back on fine, late-night dark barroom form, it's the finest Tindersticks have given us in years.