It’s a midlly disappointing week of new releases (keep in mind I’m generally a couple of months behind the rest of the world). Nilüfer Yanya and Caribou have both made better albums in the past, although both of their 2024 releases have their moments.
Nilüfer Yanya
My Method Actor
2024, 7.5/10
Indie artist Nilüfer Yanya was born in Chelsea, West London. She’s the daughter of two visual artists, with Turkish, Irish and Barbadian heritage. Yanya grew up listening to her father’s Turkish music and her mother’s classical music. But she gravitated to the guitar in adolescence.
Given her diverse background, it’s not surprising her musical aesthetic is distinctive yet varied. Her soulful alto is what you’d expect in R&B, while her guitar tone is chunky. It’s Yanya’s ability to find simple yet effective guitar riffs that makes her enjoyable.
On her third album, Yanya hands guitar duties over to her collaborator Wilma Archer. The pair wrote all of these songs together. Yanya described the dynamic to Consequence, revealing “we didn’t let anyone else into the bubble.” It’s perhaps her most sophisticated album to date, with its moody textures, but it lacks the hooks of previous records.
It starts well, with crunchy rockers like ‘Like I Say (Runaway)’ with its big chunky chords. The more chill relaxed at the end of the disc also feel like a new direction. ‘Just a Western’ is my favourite song on the disc. There’s little more than a taut guitar and a simple rhythm for instrumentation, which focuses the listener’s attention on Yanya’s layered vocals,
My Method Actor is a worthy record, but I’d enjoy more hooks next time around.
Caribou
Honey
2024, 7/10
From a family of mathematicians, Dan Snaith holds a PhD in Overconvergent Siegel Modular Symbols. Honey is Snaith’s first album as Caribou since 2020. It’s notable for Snaith’s use of AI voices to manipulate his vocals. He produces a rap on ‘Campfire’ and sounds feminine on ‘Do Without You’. He’s an early adopter, and it’s met with some controversy.
It’s certainly an interesting move from someone who’s done so much to humanise electronic music. His mild vocals are usually a key part of his appeal. But the AI filters aren’t really the problem here – it just feels more slight that his previous record, despite some great moments.
Among the great moments, ‘Climbing’ is terrific, built around the glorious opening sample from René & Angela’s ‘Just Friends’. ‘Come Find Me’ is another great track, mixing intimacy and a propulsive beat.
Honey is a brave artistic move, but Snaith has made stronger records.
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I have to say the use of AI filters gives me decidedly mixed feelings. I’m not saying AI is evil per se. In fact, it can have great applications, but using it to manipulate voices crosses the line for me. While Nilüfer Yanva is all new to me as well and I can’t say her music is instant love, at least it appears we’re listening to her voice without an AI filter.
The quest for new sounds is always part of popular music, but AI filters are pretty weird. I still think the use of click tracks etc for major-label rock albums makes them sound too slick. But I’m more open to technology in dance/pop music.
I liked the last one as far as melody but in all of them that percussion going on just doesn’t sound real….but that is just me. The intro is great though.
Caribou’s basically a one-person project I think, so I guess live drums aren’t an option.
Yes I get that…it’s just a personal thing with me…some people hate organs…I just don’t like that synth drumming sound…