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Whatever You Love You Are: Pick A Piper

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Brad Weber – drummer to Dan Snaith’s Caribou – has this year released one of the defining records of the year in the form of his self-titled LP by his collaborative project Pick A Piper. The debut album wonderfully covers a myriad of sounds and influences (dance, soul, jazz, pop, electronica, afrobeat) creating a vivid sonic palette while revealing music’s endless possibilities. The following are, in Brad Weber’s own words, “some songs that have been really inspiring me lately…”

Words: Brad Weber, Illustration: Craig Carry


Kelan Philip Cohran and the Hypnotic Brass Ensemble – “Cuernavaca”

The Hypnotic Brass Ensemble don’t need much introduction, one of my favourite groups of the last 5 years easily. Well the 8 brothers took their infectiously funky skills and applied them to their dad’s (a Chicago jazz legend) compositions. This track has a bit of a eastern european vibe. Can’t get enough of it.


Chancha Via Circuito – “hipopotamo”

This Argentinian producer seems pretty well known to me, but then again I’m always surprised how few people actually seem to know his music. The genre is called “cumbia digital” but I don’t feel like that description does his music any justice compared to the rest of the new cumbia artists out there. Again, someone else’s write-up seems to explain it well: “dreamy, neo-primitive mix of chopped-up pan flutes, folk guitar, Coke-bottle percussion, and booming, electronically treated drums– an almost shamanistic sound that carries its own landscape: underbrush, riverbanks, campfires.” His arrangements are incredibly sparse for the most part, but you never feel like anything is missing. It feels like each element is very carefully crafted to it’s fullest extent. This isn’t necessarily my favourite track, it’s hard to choose. So I’d recommend listening to this entire EP (all on soundcloud) to get a better idea.


Floating Points – “wires”

Just heard this epic new Floating Points production featuring a huge ensemble of musicians. Wow!


Rocketnumbernine – “rotunda”

RNN are releasing their new record on May 21st on Smalltown Supersound. This track is a huge leap forward for the synth and drums brother duo, taking their sounds to places I never imagined!


Jonas Rathsman – “Tobago (Original Mix)”

Killer feel-good housey track that lifts me out of my seat every time I throw it on.


Mpese Mpese Band – Mpese Mpese Theme (Drumtalk Remix)

Their description works best! “London-based producer DrumTalk flips the Asiko rhythms of Ghana’s Mpese Mpese Band – bridging the gap between Hackney and Accra. The original track came out in Nigeria in 1986.”
From the incredible Sofrito label.


Xavier Leon – “entrenched”

Xavier is a dude from Montreal who writes pretty manic, left-field type tracks. They can be pretty dark but some have a lot of brightness to them as well. This one I feel like meets halfway in the middle.


Jeri-Jeri (with Mbene Diatta Seck) – “Xale”

Super hot Sengalese jam. Check out their track “Mbeuguel Dafa Nekh” as well!


The self-titled debut album by Pick A Piper is out now on Mint Records.

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April 17, 2013 at 5:42 pm

Chosen One: Pick A Piper

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Interview with Brad Weber, Pick A Piper.

“I’m really interested in blurring the lines and leaving the sound source up to the interpretation of the listener. I like that people have no idea which beats I played and which ones I programmed and if a sound is a flute or a moog patch.”

Brad Weber, Pick A Piper

Words: Mark Carry, Illustration: Craig Carry


Pick A Piper is a collaborative project by Caribou drummer Brad Weber. The Toronto band comprises of friends Clint Scrivener, Angus Fraser, Dan Roberts and others. Pick A Piper began as a side-project back in 2009 where songs were penned by Weber in between Caribou’s shape shifting tours-crossing continents and blurring boundaries of sound. Similar to Dan Snaith’s Caribou, Weber combines organic and synthetic elements forming a unique blend of organic dance music. A spectrum of sound is effortlessly created, where psych, dream pop, electronica, afrobeat, and dance are joyously fused together. Pick A Piper’s debut album represents an eclectic, vibrant sound collage, which serves as Weber’s own personal creative outlet as he soaks up the inspiration that surrounds him.

Pick A Piper combines dance music structures, poly rhythmic percussion, atmospheric sound design, loopy melodies and a focus on electronics and production technique to create a sound poised between the organic and the synthetic. My first taste of Pick A Piper came upon last year’s arrival of the infectious single ‘Lucid In Fjords’. The song is a swirling psych pop odyssey and features Ryan McPhun, of Ruby Suns fame, on lead vocals. This track is the opener to Pick A Piper’s debut self-titled record, and what a stunning opener it is. An irresistible dream pop feel flows throughout: the electric guitars echo Link Wray, the beats and samples is a distillation of an indispensable record collection, pop hooks that are utterly infectious and a bassline groove straight from Studio One. ‘Lucid In Fjords’ invites you to “dream out loud”. To coin a Beach Boys song, ‘Feel Flows’ as the sonic canvas envelopes you in.

Next up is current single, ‘All Her Colours’. Yet again, the organic and synthetic are fused together. A seamless array of intricate arrangements are masterfully crafted. The rise on this song is sunshine pop circa ‘Odyssey And Oracle’ by The Zombies, before beats and menacing synths return on the verse. In fact, the song reminds me of The Postal Service where Tamberello’s electronic wizardry combines with Gibbard’s uncanny pop sensibilities. ‘All Her Colours’ effectively blurs the lines and leaves the listener wondering, how and just what is that sound? ‘Cinders And Dust’ contains a slow, deep groove that floats in the air’s atmosphere. Glorious harmonies, electronic glitches, are interwoven between the track’s delicate pop structure. ‘Cinders And Dust’ is somewhere between Dan Snaith’s Caribou and Junior Boys.

‘Once Were Leaves’ is one of the album’s centerpieces. A hidden dimension is tapped into here with the ethereal vocals by Raphaelle Standell-Preston (Braids). This song is reworked here and it is the utterly transcendent vocals by Preston that stops you immediately in your tracks. A whirlwind of percussion, synths, brass and a myriad of other sounds, form the sound clouds for the Cocteau Twins-esque dreamy pop creation. A new path is ventured on with ‘South To Polynesia’ – a drum and bass tour de force infused indie-pop anthem. The song has got rhythm aplenty as a free-jazz world of Sun Ra is conjured up. Flutes and woodwind, percussion, beats, bass, harmonies and brass are just some of the elements present in the mix of genre bending sound. The best arrives four and a half minutes in, as the song evolves into a trance-dance opus where a ‘Dark Side Of The Moon’ odyssey is created before your very ears.

‘Zenaida’ is an indietronic-pop gem. Think Lali Puna, Clue To Kalo or Broadcast. The production is immaculate. Album closer ‘Dinghy In A Quiet Cove’ is my new favourite and brings this stunning debut to a fitting close. The dreamy electronic loops and compelling beats transports you to new horizons. I am reminded of UK’s Bibio upon listening to this breathtaking space-age ballad. The intro is reminiscent of Schenider TM’s mythical Smiths rework, ‘Light 3000’. A ballad steeped in a cinematic atmosphere that immerses you in, deep and far. The opening lyrics beautifully encapsulates the warmth of nostalgia and charming innocence, bringing the album to a gorgeous close:

“As I walked home tonight
My foot slipped through the melting ice
I never knew it wasn’t summer
But I fell into a rivulet
It took me for a long ride
I said goodbye to Toronto”

Pick A Piper’s stunning self-titled debut is an album that reveals more and more upon every listen while endlessly revealing music’s limitless possibilities.

The self-titled debut album by Pick A Piper will be available 2 April 2013 on Mint Records.



Brad Weber Interview.

Congratulations first of all, on the incredible debut album from Pick A Piper. You must feel very proud. The sound you create is effortlessly placed somewhere between the synthetic and organic, with an array of found sound samples, synths, electronic percussion, reverb, and atmospheric soundscapes. Please discuss this blend of organic dance music Pick A Piper tap into so well.

Thanks so much! Pick a Piper was originally formed to channel my impression of dance music using organic instrumentation. We had loads of drums & percussion, acoustic guitar, glock, turkish saz, flutes and a ton of other sounds and samples to create something funky and dancey with. The structures and feel were very much alike with dance music, but the sounds weren’t. As I’ve continue to listen to a lot of contemporary electronic music and DJ mixes, our sound has slowly evolved into something more electronic while still maintaining a lot of the organic roots. I’m really interested blurring the lines and leaving the sound source up to the interpretation of the listener. I like that people have no idea which beats I played and which ones I programmed and if a sound is a flute or a moog patch.


As the drummer in Caribou’s live incarnation, you are immersed in one of the most compelling bands making music today. Please explain how this part of your life in working with Dan Snaith, feeds into your own musical entity of Pick A Piper, and how it developed from a side-project into a fully bloomed sonic venture?

Dan Snaith has certainly been my biggest musical influence of the last 6 years. He’s an encyclopedia for all the music that I’ve always wanted to hear but never known of its existence. These mind-blowing, game-changing records have forever changed the way I write, perform and work. All the same, it’s always been a natural extension of where I was already heading. Pick a Piper has been around since 2009, but it’s always been a project I worked on in off periods of Caribou touring. I wouldn’t even call it a side project as much as it’s my personal creative outlet to periodically pour ideas into that I’ve been pondering for an entire tour or whatever.


I would love to gain an insight please into the recording of the self titled debut, and what vision you had for the sound you wanted to create?

I wanted to blur the lines between organic and electronic and bring my current sense/excitement of electronic music production to create something that sat in the middle. A lot of the songs on this record started out as little loops that I created in the back of the tour van or on a cramped airplane. Then when I had time off, I’d come home and flesh these ideas out into complete songs. The overall process I would describe as “sampling my friends”. I recruited lots of pals whose musicianship I trust to come in and record various ideas/loops/bits along to tracks that I had already started. Often two or more people would record along to the same base tracks without hearing the other person’s ideas. I did this with both my main bandmates (Angus Fraser & Dan Roberts) as well as a bunch of other good pals. I choose what I liked and then cut up and manipulated what they had given me and made full tracks of it. In the end I had a few good folks re-record our vocal ideas with their voice, or in some cases (like “All Her Colours” for instance) give me entirely new vocal ideas (that ended up being amazing!) I believe a lot in collaboration – you’ll find a lot of that on this record while tricking the listener into thinking it’s the ideas of just one or two people.


My first introduction to Pick A Piper was last year’s single, ‘Lucid In Fjords’. I love the title! The song is a psych pop odyssey-electric guitars a la Link Wray, a hypnotic bassline, divine synths and a plethora of organic/synthetic sounds. Discuss the importance of this song please and talk me through please the construction of ‘Lucid In Fjords’.

This one had lots of different input and was a lot of fun to write. I started it with a bassline, beat & simple synth arpeggio and just couldn’t get it to work. The track was super boring with an uninspired structure, so I threw it away. It wasn’t until half a year later that I came back to it and completely re-structured the track (no idea why I bothered trying again) that everything came into place. Angus’ original vocal melody suddenly made so much more sense and the track went from a total clunker to one of my favourites. My flatmate Jared added some guitar and I recruited my good pal Ryan McPhun from The Ruby Suns to re-record Angus’ vocals with his voice. Ryan did just that, but also gave me another melody that was absolutely incredible, so I used both!


What are the defining records for you, firstly in terms of production, and secondly, in terms of songwriting?

For production, I love Can records, My Bloody Valentine: “Loveless”, newer stuff like Clams Casino, Chancha Via Circuito, Junior Boys.
Songwriting, Zombies: “Odyssey and Oracle”, Smashing Pumpkins: “Siamese Dream”, A.C. Newman “The Slow Wonder”, Beach Boys: “Pet Sounds”.
I dunno, I’m terrible at these types of questions. These are just a few that popped into my head.


Pick A Piper is a collaboration between you and your friends, Clint Scrivener, Angus Fraser and Dan Roberts. I would love to know how you guys met and the origin of Pick A Piper?

Pick a Piper was formed in 2009 after I did my first stint for a couple years with Caribou. I needed a new outlet to get my own ideas out of my system. I recruited two very dear childhood friends (Dan and Angus) and Clint (who I had met in college) and was amazed how the project came to life. I guess the best way to describe it is “collaboration with central guidance (sorry, that sounds like something from a board room meeting!). I’m basically guiding/producing/arranging the whole process myself, but I certainly couldn’t do it on my own. Angus, Dan and Clint brought a ton of incredible ideas to the table and were key to making my visions come to life! Our live shows used to be insane double or triple (sometimes quadriple!) drum jams with a bit of singing and other instrumentation thrown in (or at least that’s how I felt). The band went on hiatus for a year or two while I was touring “Swim” and we’ve come back as a 3-piece with a tighter sound and a better balance between drum freakouts and sparse bits with careful vocal nuances. We’re still solid pals with Clint, but he left to become a daddy and is focusing on family now.


Discuss the music scene in Toronto? What are your favourite bands at the moment?

Here are 3 of come off the top of my head. There’s so much more incredible music happening though.

Fresh Snow

Psych/noise/kraut group with one of my best pals Andy Lloyd on bass. Their live shows are insane. Sometimes they play inside of a pod with projections on all sides, sometimes they have a 4-piece horn/string section. I actually have no idea what to expect, ever, so I love them.

Invisible City DJs

Invisible City Sound System is a collective of DJs that explore the history of dance music from around the world. They seem to focus on disco, boogie, early house, techno, and obscure funk. I’ve never once recognized a track and I’ve loved every single one I’ve ever heard. They recently even went to Trinidad and hand picked a pile of records from some vault there and made an incredible mix with it.

Lemon Bucket Orchestra

I know a lot of bands are trying their hands at the gypsy/klezmer thing these days, but these guys just do it better than almost anyone. They are probably one of the hardest working bands I’ve ever seen and their shows generally spill out into the streets and parade around town. They even organized a flash mob that in one night took over 2 intersections, a subway car and the main hall of Union Station. They also entertained people on board an Air Canada flight to Romania when the flight was delayed on the runway. But it’s less about antics and more that they just put on a killer performance.


My favourite song on the album is ‘Once Were Leaves’. It has this irresistibly seductive slow-tempo groove. The female vocals are gorgeous. Again, with all of Pick A Piper songs, there is a kaleidoscope of sounds that form into one cohesive whole. There are so many beautiful moments on this song that are utterly transcendent-the female vocals (who is singing there?), the looping harmonies, the brass, drums/percussion, dreamy synths. Sublime! Please talk me through the creation of this song?

This one is by far the oldest of the bunch! Look online for a song called “Yellowknife” from our self-released EP in 2009 (green cover with tambourines). We still loved this song so much and decided it was worth completely re-envisioning it for the record. We went up to a snowy cottage in the middle of winter last year and fleshed out the new version in a single weekend. We made it much more spacious and atmospheric than the original, which was full of chugging acoustic guitars and overpowering horns. I fell in love with Raphaelle’s voice a couple years ago and had met her a few times at various shows. I thought she’d be perfect for the track and got in touch to see if she would be interested in singing on this track. I gave her the original vocal part and said “you can can sing this if you want, or whatever else you’d like”. She proceeded to take our original melody and flip it on it’s head, chopped and diced and completely re-imagined it to a place I never would have thought of. I got an ableton session back from her with probably over 100 little edits and splices and tons of interesting effects. Her part completely blew me away and was exactly where I was hoping the track would go, but didn’t know it! I love collaboration for that reason.


Your record collection must be vast and diverse. When listening to Pick A Piper, worlds of psychedelia, dance, pop, electronica, ambient, jazz, dub and more, penetrates the head-space. On this album, when writing a song, do the words form the song or could it be a single sound that triggers a song’s creation?

Usually it starts with a beat! That is what so often determines the overall feel of the song. It’s my first instrument and kinda always what I fall back on.


‘South To Polynesia’ is incredible. I love the vocals. A compelling free-jazz intro before layers of woodwind, drums, bass and harmonies enter the mix. The moment, perhaps four minutes in, when the song evolves into a beautiful frenzy of trance-dance is utterly transcendent. The brass enters shortly, and a vibe of ‘Dark Side Of the Moon’ is formed. Discuss please the sequencing and production to ‘South To Polynesia’?

South To Polynesia was originally two separate tracks. The first loop that starts the song and the chord progression at the end. Clint wrote the ending progression and gave me a big ableton session with a song that included it. I cut the rest out and tried so hard to find a song that his bit would fit into. It just wasn’t happening for the longest time though. It was that same snowy cottage weekend where we re-recorded Once Were Leaves that I finally married it to a new-ish loop of mine that would go on to start the track and become the backbone for most of the song. Dan filled in the gaps with loads of automated drones and my friend Colin Fisher eventually laid down a ridiculous sax part! I love having such talented friends!


Take me back please to the Caribou/Radiohead tour last year where you toured big stadiums across the world. Listening to Pick A Piper I hear the influence of live performance, as the songs have this fluid feel, the sonic layers in constant motion.

It was an incredible experience for sure. I think probably the most inspiring aspect of the whole tour was how real they were as people. Everyone, both band and crew, were really warm, down to earth and incredibly welcoming. It’s nice that musicians at that level can be such sincere and genuinely grounded people.
With Pick a Piper I hope to continue to spread this type warmth and compassion to all the people we meet along the way.
Musically our live show has always been really important to us. We have 3 drum setups of various sizes on stage as well as a slew of midi controllers and samplers to re-create our sonic world live. Dan and Angus are constantly triggering hits, loops and effecting and manipulating them on the fly. Same goes with their vocals. I’m really proud of our live show and have certainly been influenced by Caribou and Radiohead along the way!


Do you plan to tour Europe? I hope I can help bring Pick A Piper to Cork, Ireland–my hometown:)

I’d love to. We’ll see how it goes at home first! I’ve played Cork a couple times in the past and the crowds were manic. Such a fun city!


The self-titled debut album by Pick A Piper will be available 2 April 2013 on Mint Records.


Step Right Up: Daphni

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“Daphni tracks are rough and spontaneous. There is a small world where dance music lives up to its potential to liberate, surprise and innovate. It’s there that I hope Daphni has a place.” (Dan Snaith)

Words: Mark Carry, Illustration: Craig Carry


2012 is a busy year for Canada’s Dan Snaith. As always, multiple projects are on the go all at once, from remixing artists and setting up his own label to touring with Radiohead and creating his new dance project of Daphni. The debut album is entitled ‘Jiaolong’ (pronounced JOW-long) and it is indeed, dance music that truly liberates, surprises and innovates the listener. Dan Snaith has a body of shape shifting works behind him, under the moniker of Caribou, and it is here that I was first introduced to the prolific and innovative artist, that is Dan Snaith.

Late night television was where Dan Snaith’s music first appeared to me, over a decade ago. ‘No Disco’ was the coolest TV program around, where Leagues O’ Toole introduced independent music videos covering all genres and styles. An hour of true inspiration was broadcast from the TV screen each week. One night, the video of ‘Jacknuggeted’ by Manitoba (as Dan Snaith was known then, before a court case ensued that meant he changed the name to ‘Caribou’) was shown. I was immediately transported to this bubble of lovingly warm electronica infused indie music, which was termed ‘indietronica’. The singular song of ‘Jacknuggeted’ meant so much to me. The open, beautiful lyrics. The haze of psych pop wonder over the course of three minutes. The gorgeous acoustic guitar strum that breathed such life into my mind. Of course, the video was otherworldly and beautiful, which was made by the cool Dell 9. A wealth of honesty and simplicity was etched across the autumnal woodland setting. The music matches the video note-perfectly. The climax in the song is building as a ball is thrown into the air. As the ball falls, colours of red, blue, orange, yellow are splashed across the woodland. Bright sun shines through the leaves and trees. The scene and music was utterly transcendent to me. My perfect introduction to the world of Caribou. The song’s lyrics of “I met you then fell apart/ now I’m nothing more than a broken heart’ evoked, like the video, a spectrum of colours of emotion. Days later, I picked up ‘Up In Flames’, the album in which that song ‘Jacknuggeted’ could be found. The album’s euphoric sound blew me away, with songs like ‘Hendrix And Co.’, ‘Twins’ and ‘Kid You’ll Move Mountains’, Dan Snaith quickly became an indispensable part of my music collection. His follow-up albums ‘Milk Of Human Kindness’, ‘Andorra’ and 2010’s masterpiece ‘Swim’ today, are all forged heavily into my brain and consciousness from the endless re-visitings.

Forward to 2012, Dan Snaith remains as prolific as ever. Caribou have been supporting Radiohead on their world tour throughout the summer months. In between, Dan Snaith DJs during the moonlight hours across various cities worldwide. Last year, the first glimpses of Daphni surfaced with the release of the Daphni 7” single ‘Ye Ye’, on Four Tet’s Text Records imprint, which is featured on the debut album. Like his close friend, Kieren Hebdon (Four Tet), Snaith set up his own label Jiaolong. A string of Daphni remixes were soon released, from the likes of California’s Emeralds and Junior Boys to remixes for Carl Craig and Hot Chip. Earlier in October saw Daphni release his highly anticipated debut album ‘Jiaolong’ and it most certainly delivers on every level. The nine tracks are utterly compelling dance odysseys ideal for both the dancefloors and headphones. The music of Daphni was constructed with a modular synthesizer designed by Snaith himself and it is this instrument that’s central throughout each of the nine cuts. Unlike Caribou where Snaith combines multiple layers and textures of maximum sound, Daphni focuses on minimalism, where acoustic and synthetic elements converge. Interestingly some of the album’s tracks were worked on by Snaith during the making of ‘Swim'(Caribou’s last creation) and elements of ‘Swim’ can be heard in Daphni’s techno explorations.

‘Yes, I Know’ opens ‘Jiaolong’ and what an instant classic it is. Soul, funk collides with dance music so effortlessly. Snaith uses an old soul classic to create a fully charged and uplifting funk infused dance cut. The masterful soul of Buddy Miles and ‘The Segment'(taken from 1970’s ‘A Message To The People’) is sampled over the pulsing synths and infectious beats. “Yes, I know she told me so” is sung in refrain by Miles that’s got irresistible soul and funk. The outro refrain of “She’s got to move my soul” brings the song to a close, complete with divine brass and compelling beats. What comes next is possibly the best dance track of 2012. Daphni remixes obscure Togolese band Cos-Ber-Zam’s ‘Ne Noya’ with stunning results. Think Congotronics, Sun Ra and Caribou material distilled into a five-minute sonic exploration. A hypnotic groove drives the song, all happening at a slow pace. Afrobeat of drums and percussion fuse with spiritual realms of African chants with a thudding bassline and swirling synths. A further recommendation is to check out Analog Africa for more rarities of this kind!

‘Ye Ye’, which was originally released last year, is the third track that contains techno beats and a sample of William Onyeabor’s ‘When The Going Is Smooth And Good’. A flute melody is the central motif to ‘Light’. A descending arpeggio line of woodwind breathes new textures and depth to the backdrop of electronic
bleeps and percussion. ‘Pairs’ is sublime. Brazilian tropicalia permeates the pulsing synths and rhythmic grooves. Elements of ‘Odessa’ from ‘Swim’ can be heard in the headspace of ‘Pairs’, in between the synthesizer and stunning hooks. ‘Ahora’ is one of my favourites. The track echoes Caribou’s ‘Found Out’ from ‘Swim’ and is indeed a compelling venture in synthesizer sound. An ethereal dreamscape of sound is embedded in a floating ambient psych haze. The rough and spontaneous traits to the Daphni moniker is shown here, as the synthesizer loops in this beautiful dreamy haze.

Another highlight is the exceptional ‘Jiao’, which is an explosion of cosmic and euphoric sounds. A hypnotic electric guitar groove is the bloodflow of the track that’s highly infectious. A cosmic space of layered percussion, trance beats and cosmic guitars creates a haven of free jazz, afro beat and dance sounds. I think ‘Jiao’ is the album’s climax where Daphni is no longer constrained, allowing a stream of energy to burst from the tape desks. Think Tortoise remixed by Four Tet. ‘Springs’ is house/techno with vocal loops. Drums enter the mix three minutes in that is reminiscent of Four Tet’s trademark sound. The album closer ‘Long’ could be the finest of Daphni’s works. Shoegaze and blissed out electronica combine to form a beautiful noisescape that builds and evolves into a true tour-de-force. This song epitomises Snaith’s aim for dance music to live up to its potential “to liberate, surprise and innovate.” Here, on ‘Long’, Snaith fully delivers on this. Innovative layers of synths gloriously float through My Bloody Valentine-esque noise that recalls the recent works of Emeralds and Oneohtrix Point Never. Amazing.

Daphni is yet another compelling chapter in Snaith’s rich body of innovative work. I look forward in huge anticipation to more Daphni and Caribou releases in the near future. ‘Jiaolong’ shows Snaith’s masterful artistry in full flow. But with Caribou’s plethora of releases, we’ve come accustomed to this fact.

Snaith has said “DJs have the potential to blindside you” and in his Daphni guise, Snaith has done just that.

‘Jiaolong’ is out now on Jiaolong.

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October 13, 2012 at 4:45 pm


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