12-10-2012 | 11.31
But Dan Snaith never does only one thing at a time. In 2002, he was not only focussing on folktronica, but also experimenting with other genres. For example, in 2002 he made this garage version of Manila’s Seelenluft. And it's splendid. The break sounds like a wild rehearsal of the band and after the break it sounds like what dance music sounds like nowadays – fast and English. As Manitoba he recorded his second LP at this time: Up in Flames. It sounded like what glo-fi sounded like ten years later. Still folktronica, but poppier, like this.
And then suddenly Dan lost a lawsuit and changed in Caribou. And Caribou was a band. Still it was Dan recording all the music on his own in the studio, but as Caribou they sounded more like a band, and at stage they were a band. In 2005 they released The Milk of Human Kindness, full of wonderpop like Yeti and Hello Hammerheads. Nowadays this is one of my favourite LP's of al time, but by that time I had never heard of Caribou. Maybe one time through the The Pixies, but that's it.
In 2007 there was this period where I was basically only listening to deejay sets of James Holden; this period lasted almost for a whole year, and also for a major part of the following years. The set I was listening to the most was the three hour anthematic deejay epic: James Holden @ Piknic Electronic 09-09-2007. Nowadays I still know people who instantly start shivering if you mention Piknic and Electronic. Piknic Electronic is a utopia for key-mixed-acid-pop-for-trancekids, and Niobe by Caribou is one of its last songs. Utopia again. And this utopia in utopia was my introduction to my favourite band's favourite song.
From that moment Holden and Caribou were connected forever for me, and when Job and me were thinking of possible questions that we could ask Dan, I could only think of questions considering James Holden. Job prohibited this and cut every question about Holden. If I wanted to talk about Holden so bad, I should interview him myself, said Job.
So, in November at the basement of De Helling we asked them neutral questions about influence and inspiration. Their answer: James Holden. At almost every question. This gave me satisfaction and Job laughed unbelievably. Dan Snaith was very clear about it: after he heard 10101 by Holden he recorded Niobe – first as a dancetrack on his computer, and then removed all the electronic and added some live dubby drum sounds. When Dan had finished Niobe he felt like he made a copy and actually needed permission of Holden to release the track. Anyway, he had sent him his ten minutes of I Fall So Far and a few weeks later Holden played Niobe at the beach, and Dan reached the dance floors.
To be continued.
Text: Luc Mastenbroek