Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ.
There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like ‘Clap Your Hands’ which picks up the energy of ‘Sad Piano House’ and flips it, exposing the gritty and intoxicating underbelly of Snaith’s hitmaking side, while retaining the playful urgency that runs through all of his work of late.
Meanwhile ‘Hang’’s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable.
Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings.
‘Lucky’ is squirmy and elusively intoxicating, ‘Invention’ skitters down meandering, inviting corridors, ‘Talk To Me’ grumbles and broods in the murk, and ‘Miles Smiles’ could roll on endlessly, so confident in its groove.
There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.

One such club is a good microcosm for the ethos of Butterfly as a whole.
“Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany.” Snaith recalls, “It’s kind of, in one sense, the platonic ideal of the kind of club I’d want to play in.
Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room.
But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides.
It is an absolute pleasure to play in that room to a crowd of people who come from all over.
Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there.
Don’t get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad.
I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that’s still most interesting to me.”
This is the feeling that’s most palpable on Butterfly, and in every single time you see Snaith DJ.
Right from the inception of the Daphni alias – and even before that – the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns.
It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith’s bow, exhilaratingly human and unified by one singular concept – simple and joyful exploration.
