Release Date: 6 February 2026
Song Count: 16
Duration: 58 minutes, 37 seconds
Rating: 6.1/10
Description:
Two out of three albums that released exactly yesterday underway, and this time we stumble upon another artist less than a month after the last time their music was reviewed here - Canadian artist Dan Snaith has emerged with his now thirteenth studio album overall, and his fifth under the specific musical pen-name Daphni. Loosely treading in the footsteps of his past works yet setting itself apart in noticeable ways, Butterfly cements itself as a through-and-through techno and classic house record, making less use of synths like its now 9-year old older brother Joli Mai did, and going all in on minimalistic beats and grooves that prefer to firmly settle in.
This head-first jump into the territory of EDM music revolving around heavy amounts of repetition and tunes being extended quite far makes this the most noticeable quality of the album, both for better and for worse. For setting a general mood of, say, an underground dance club just staying out of eye for most of the public at night yet delivering on all fronts to the few dedicated ravers in the building, these tracks fit the bill perfectly - they're slick, zany, carry a seemingly effortless charm to them and achieve everything they want to with as little utilised as possible, in true techno fashion. Using the sheer power of looping beats, basslines, simply constructed melodies and occasional samples being mixed around, Butterfly offers 50 minutes filled with one consistent groove that works its magic once it manages to hook one in.
This, however, is simultaneously where the caveat of the record lies, as the actual "hooking" moments are very few and far between, primarily being buried below heaps of songs that, while not qualitatively bad on their own, sound very similar to one another with very little to differentiate them. This lack in variety, whilst not unseen in the genres Butterfly touches on, does lead to a sort-of droning or tiring effect, especially midway through where most of these less memorable songs are bunched up. Though they don't deter from the enjoyment had with the best parts of the album - mainly the specific tracks "Clap Your Hands", "Waiting So Long" and "Good Night Baby" - they do lead to me at least wishing that a little more were at least done with them to elevate the album further. Far from an unenjoyable piece, but one where I wish the most interesting parts were spread out more for an overall better listening experience.