Dan Snaith spent four albums teasing out the dimensions of his sound, weaving oddball electronic beats into scraps of '60s psych. Then, on Swim, magic happened. The rhythms are looser and leaner; club elements come to the fore without sacrificing any of the warmth of his warbling synths and sampled bells. "Odessa" and "Lalibela" feel like shuffling through autumn leaves on a packed dance floor; "Bowls" gives techno a spine-tingling acoustic makeover. Throughout, Snaith's cool falsetto is as welcoming as an old friend.