Word: songfulness
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...album begins with “The Code,” a fuzzy and futuristic spoken-word track. Toward its end a melody enters, melting into the album’s first real song, “Dream About the Future.” The track opens with a piano meditation on the same two chords, layered with drums, the band’s characteristic synthesizer, and quirky sound effects. Frontman Schneider soon interjects, “When I tell you that I need you / You don’t believe me.” Achingly whiny and painfully clich?...
...interest; chorus meets verse meets chorus until the track fades out. “Hey Elevator” is also frustrating, simply repeating the chorus’ two lines at the track’s end, layering one line upon the other without much tonal or vocal variation. One song, however, does break from this monotony. “Dance Floor,” the album’s first single, succeeds in shaping for itself a dramatic arch. About two minutes in, it crescendos, followed by a lull that accentuates this change. The track also boasts an interesting rhythm...
With “Lalibela” and “Jamelia,” Caribou gives up completely and returns to his more airy roots, and the songs are better for it. The former, in particular, uses swelling, melancholic synthesizers and delicately whispered vocals to haunting effect. While “Lalibela” recalls the best of Caribou’s previous releases, that song and “Jamelia” are strange fits on an album dominated by pulsating drum-and-bass beats. Still, they’re a welcome break from the indecisiveness...
...abruptly left the stage after playing the song, but returned to cheers to play another one of his well-known singles, “Pursuit of Happiness...
Other performers included Marcelito, who performed the song “Girls” in male drag, wearing a trucker hat and baggy jeans with a pair of socks tucked in front to create a bulge, and Boyonce, whose gold sequins flashed so brightly as she performed “Halo” in the dimly lit pub that the audience was almost blinded by the glitter...