Dan Snaith, operating under his Daphni moniker, has released his fifth album, "Butterfly," in 2026, marking a notable shift in his musical direction. This latest offering, reviewed on February 12, 2026, by Gio Santiago and released by Jiaolong, veers towards a more commercially oriented electronic sound. Unlike his previous works, such as "Cherry," which explored intricate and eclectic soundscapes, "Butterfly" prioritizes broad appeal and a stadium-ready feel, aiming to capture a wider audience with its predictable yet functional tracks. The album focuses on energetic, four-on-the-floor rhythms, incorporating elements of acid, dub, and jazz, yet often delivering them in a straightforward manner that some critics find lacks the previous depth and adventurous spirit of Daphni's music.
Dan Snaith's Daphni Project: "Butterfly" Explores Mainstream Dance Music Conventions
Dan Snaith, known for his Caribou project and DJ alias Daphni, has unveiled his fifth album under the Daphni name, titled "Butterfly," released in 2026 by the Jiaolong label. Reviewed on February 12, 2026, this album represents a departure from the experimental and nuanced sonic explorations that characterized his earlier Daphni releases. While previous albums, particularly "Cherry," showcased an intricate blend of unique loops and genre-bending compositions designed for discerning club-goers, "Butterfly" adopts a more accessible, high-energy approach. The album is structured around a consistent mid-130s BPM, emphasizing robust four-on-the-floor beats with glimpses of acid, dub, and jazz influences. Tracks like "Waiting So Long" exemplify this, featuring a techno-leaning tempo and disco-house fundamentals, but critics argue that the immediacy of its hooks often leads to a lack of emotional resonance. Similarly, "Napoleon's Rock" offers a brief jazz interlude, yet fails to significantly alter the album's prevailing dance monoculture, appearing more as a momentary pause than a true shift in mood. Other pieces, such as "Clap Your Hands," "Hang," and "Goldie," maintain this efficient, big-room pacing, designed for seamless mixing and guaranteed momentum. The album's occasional moments of raw creativity, particularly in "Talk to Me" and "Caterpillar," hint at the distinctive Daphni sound, but these instances are often overshadowed by the album's overarching commercial aspirations, leading to a polished but less surprising listening experience.
"Butterfly" presents a compelling discussion on the evolution of an artist known for his innovative approach to electronic music. While the album undeniably achieves its goal of creating functional, large-scale dance tracks, it raises questions about the balance between artistic integrity and mainstream appeal. The shift towards a more predictable, commercially viable sound may alienate some long-time fans who appreciate Snaith's more experimental endeavors. However, it could also introduce his work to a new generation of listeners within the wider electronic dance music scene. Ultimately, "Butterfly" serves as a reflection on how artists navigate commercial pressures and personal artistic visions in an ever-evolving music landscape, prompting us to consider what defines a truly impactful electronic music experience: immediate gratification or enduring, intricate artistry.