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It's no secret that we're big fans of all things Daphni around these parts. The dancefloor-focussed project from Dan Snaith of Caribou, won us over when we first heard Four Tet road test smasher 'Ye Ye' at Plastic People a couple of years ago. As such, it gives us enormous pleasure to announce the launch party for an album we're hugely looking forward to hearing; Daphni's JIAOLONG (pronounced JOW-long) will be released on the 8th of October and to celebrate, we have the main man himself, fresh from a global tour supporting Radiohead, playing a very rare 8 hour set.
Throughout Caribou’s ongoing world tour, Dan has been hitting club nights in each city, DJing into the wee hours in search of that sweet spot. “DJs have the potential to blindside you,” Snaith says. “During the time I was making the Caribou album Swim, I’d fallen back in love with moments in small, dark clubs when a DJ puts on a piece of music that not only can you not identify, but that until you heard it you could not have conceived of existing.”
Inspired to work in a completely different way—setting aside the meticulous compositional rigors and musical layers that underpin Caribou songs—Dan Snaith-as-Daphni reaches out for a more feminine, fluid energy and seeks instant gratification. “Daphni tracks are rough and spontaneous,” he explains. “They’re about working fast and intuitively, capturing the manic energy needed to start a track one afternoon, have it finished, and be playing it in a club that night.”
Acclaimed remixes of Hot Chip and Emeralds have followed, “Electronic instruments are notoriously uncontrollable, unpredictable, and recalcitrant!” Snaith says ruefully. “I’ve been building a modular synthesizer, which plays a prominent role on this album. It growls or screams when I don’t expect it to. Nudging one dial changes the sound so drastically that I’ll never get the original sound back. It’s like improvising with another musician, and its voice is all over this music.”
JIAOLONG sits easily with the kinetic likes of Theo Parrish, Four Tet and Floating Points and is sure to be seen as one of the best records of 2012, both in the dance community and beyond.
“I’ve been surprised by the number of transcendent moments I, sober and in my mid-30s, have had in clubs in the last few years,” Dan says. “There’s some magic in it still. The cliché about the collective consciousness of clubs still seems to hold water in some special cases. There is a small world where dance music lives up to its potential to liberate, surprise, and innovate. It’s there that I hope Daphni has a place.”
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