Begun as a means of making music to channel improvisatory immediacy, Dan Snaith’s Daphni project has fast been reaching the levels of notoriety enjoyed by his first group Caribou in the five years since its founding. Where Caribou’s live show and studio recordings are a complex interplay of arrangement, instrumentation and melody, straddling the line between movement and introspection, Daphni is a one-man show squarely aimed at the dancefloor. Snaith’s debut record as Daphni, 2012’s Jiaolong, was a rumbling confluence of acid synths and compressed percussion, topped off with soul vocal samples, West African rhythms, and twanging electronica. His DJ sets as Daphni in the years since Jiaolong have been similarly diverse, yet punctuated by a unifying emphasis on groove, and with his forthcoming mix for the prestigious Fabriclive series, Snaith-as-Daphni remains consistent.
Following in the tradition of Omar S, Shackleton and Ricardo Villalobos – a DJ who Snaith frequents the club to see – the Daphni Fabriclive is comprised entirely of new music and edits, rather than a curated collection of other artists’ tracks. Again, this decision came from the ethos of spontaneity that underlies the Daphni project; beginning with a selection of new music to be interspersed amongst a regular set, Snaith then started making edits ‘in situ’ during the mix, manipulating songs to fit each other within the seamless flow of music. Before he could take a breath, he had completed the finished 75-minute mix of originals.
Read the rest of the review in Clash Magazine.
[This piece was published on 14/7/17]