There’s always been a clear divide between Daphni and Caribou, the two distinct musical personas of Dan Snaith. Where Caribou has been psychedelic and ephemeral, Daphni has been more direct and explicitly danceable.

That’s not to say Caribou’s output has been devoid of dance beats — since 2010’s Swim, Snaith has pushed that project ever deeper into house music. But those albums are fundamentally headphone records, best enjoyed alone or in small company. They’re sensual, ethereal, and often gorgeous.

But Butterfly, Snaith’s latest release as Daphni, is where the two projects converge, enmeshing and transforming his various influences into something familiar for longtime fans yet entirely new.

It’s hard to know exactly where Caribou ends and Daphni begins. “Waiting So Long,” the only track on Butterfly to prominently feature Snaith’s lead vocals, could slot seamlessly into Caribou’s euphoric live show. “Good Night Baby” feels like a cousin to Snaith’s great album closers — à la “Nirobe” or “Cloud Song” — except it’s slotted smack dab in the middle of the record.

At other points, Snaith takes his experiments with EDM — and yes, this is EDM, in its most joyful, exploratory, and intelligent form — even further out. The beats are layered and impeccable, proving that Snaith, if nothing else, remains one of the finest producers working today.

Butterfly is, at times, the funkiest, grimiest, and most celebratory music of Snaith’s career. This is rave music through and through; a journey through his greatest influences that compels us to put our troubles on hold and let the good times flutter, if only for an hour.