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Daphni and Caribou are the same person. Daphni\u2019s music tends to be dancier, but they\u2019re both aliases of producer Dan Snaith, which makes one of two singles he\u2019s released today a bit unconventional. \u2018Waiting So Long\u2019, which will appear on Daphni\u2019s just-announced album Butterfly<\/em><\/a>, features Caribou, and it does almost feel like a Daphni rework of a Caribou track. The other new track from Butterfly<\/em> is called \u2018Lucky\u2019, and it\u2019s cartoonishly trippy. Take a listen below.<\/p>\n Explaining \u2018Waiting So Long\u2019, Snaith said in a press release:<\/p>\n People understandably always ask about the difference between Caribou and Daphni music \u2013 how I decide which is which. I think there have been times where the music I\u2019ve made under the two aliases has been farther apart and times \u2013 eg right now \u2013 where they\u2019re closer together. One big thing that has always differentiated them is my voice. I\u2019ve never sung on a Daphni track. When I started \u2018Waiting So Long\u2019 initially it was an instrumental. The lyric and the melody came to me as I was working on it and I just recorded it without thinking too much about it, but when I listened back to it a few days later it was the first time that i\u2019ve had the sense that a track belonged to both aliases \u2013 like Daphni had sampled a Caribou vocal or something like that. I\u2019m not in the midst of some existential crisis; I haven\u2019t, hopefully, slipped too deep into the welcoming waters of the pool of Narcissus; I don\u2019t agonise about what track ends up under what alias \u2013 in fact the opposite. I worry about it less than ever and just go with my gut instinct. On a practical level I just felt like this was a track that both Daphni and Caribou fans might want to hear.<\/em><\/p>\n Butterfly<\/em>, the follow-up to 2022\u2019s Cherry<\/em><\/a>, arrives on February 6. It features the previously released songs \u2018Sad Piano House\u2019<\/a> and \u2018Clap Your Hands\u2019<\/a>. \u201cDaphni music is still music that I\u2019m making primarily for the purpose of playing in my DJ sets,\u201d Snaith said. \u201cThe majority of the tracks on this record I do play regularly in my sets. But then there are a bunch \u2013 slower, weirder \u2013 that I don\u2019t usually play\u2026 or wait\u2026 maybe the point is that I\u2019d only play them in the right club.\u201d<\/p>\n He added:<\/p>\n Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany.\u201d Snaith recalls, \u201cIt\u2019s kind of, in one sense, the platonic ideal of the kind of club I\u2019d 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\u2019t 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\u2019s still most interesting to me.<\/em><\/p>\n