A marvelous confusion
Electronic artist Daedelus escapes easy classification
When Alfred â€œDaedelusâ€ Darlington takes the stage, he has a decade of material to choose from. There is the glitch-ified orchestral soundtracks of 2002â€™s Invention, the surreal Bossa Nova of 2006â€™s Daedelus Denies the Dayâ€™s Demise, and the tweaked bass and breakbeats of 2008â€™s Love to Make Music To. There are side projects such as the Long Lost, a 2009 folk excursion made with his wife, vocalist and visual artist Laura Darlington; and the whimsical avant-hop of The Weather, his 2003 album with rappers Busdriver and Radioinactive. More than most of his electronic contemporaries, Daedelus escapes easy classification.
Based in Los Angeles, Daedelus has become something of an elder statesman in that cityâ€™s widely celebrated beats â€˜nâ€™ bass scene. Yet he clearly stands apart with his eccentric look â€“ modeled after Victorian dandies of the 19th and early 20th century â€“ ever-present monome keyboard, and studious disregard to convention. His recordings may sound lovely and pastoral at times, but his live performances (captured on the 2009 disc Live at Low End Theory) make them nearly unrecognizable. Instead, he culls the melodies and hooks and attaches them to a series of jackhammer beats that resemble early 1990s UK hardcore jungle, or â€œrave music.â€ They are experiences unto themselves.
Daedelus is currently on tour in Asia, so he chose to respond to a few questions via email.
Plug One: Please explain your visual and conceptual aesthetic. It’s been called “steampunk” and Victorian, but it’s actually Edwardian, right?
Daedelus: It’s been so knocked around and twisted, I’m mostly interested Victoriana and all things inventor-ly. Now much like a Venn diagram Steampunk also intercepts with such, but also includes plenty of Edwardian touches, even some WW1 weirdness, and is seems to me more about historic (re)visionary-ism (wow that isn’t a word!). Nothing against all that fun, I’m just not that interested in that much modern-ism in my historic ramblings.
Plug One: Which instrument(s) do you use for shows? Do you rely on presets, and if so, how do you generate organic sounds?
Daedelus: I am quite embroiled with this fantastic instrument / controller called Monome. Using two versions; one being 256 buttons and the other 64, which are both connected to a computer. In many ways it is like traditional keyboarding, or finger percussion at times, but with unlimited sounds to choose from. This is simplifying things a bit, after all it is still pretty DIY electronics, so night to night the show can vary by huge margins as called for.
Plug One: When I’ve seen you perform live, your sets tended to be much more chaotic and noisy than your recordings. Is that typical of your performances? Overall, can you describe your approach to live performance?
Daedelus: Sturm und Drang is a very useful concept for performance I believe. As is tension and release, expectation, and exuberance. All qualities to aspire for, often fail in to execute, and try try again.
Plug One: In recent years you’ve trumpeted “rave” and “hardcore,” especially during your sets. But “rave” is a relatively vague term, especially here in the U.S. When you say “rave music,” what are you referring to? And how do you explore “rave” in your music?
Daedelus: There is currently a marvelous confusion of tempo in the dance music world, mostly centering around 140bpm. Genres like Dubstep, Electro, and Footwork (a little faster paced then the others) are staples of the current Rave scene. Without getting into what makes these styles stand apart, I’m enjoying the possibilities in a shared tempo with different feels throughout a live set. Getting historical, Rave Ups were all night dance parties in the 1960s fueled by music and substances, pretty familiar territory to our current concept of Rave, right? Things don’t change time just bends and strings touch, some physics, and poof!
Plug One: Can you talk about your relationship with Flying Lotus? I know you were something of a mentor to him, and lent a remix to his first album, “1983.” Also, Laura Darlington has sung guest vocals on all of his full-lengths.
Daedelus: I’m a fan and consider myself a friend. He seems to be making waves for the best reason, good music! We’ve had a connection thru the LA music scene for a spell, and I was honored to have my EP “Righteous Fists of Harmony” be one of the early releases on his label Brainfeeder.
Plug One: Speaking of Ms. Darlington, she’s been a close collaborator with you since “Invention,” and you even released an album together as the Long Lost in 2009. Can you talk about your work together for a minute? How is the Long Lost project different from your solo work?
Daedelus: The Long Lost predates my solo work by a couple of years, we’ve been collaborating that long! It has been song driven from the get, and often revolves around the instruments of our shared past (meeting in high school orchestra) flute, bass clarinet, bass, and guitar. By having a limited sound palate (unlike those previously mentioned monome) and a strong willed writing partner in Laura we’ve had a small output but very focused in sound.
Plug One: A new Daedelus album is set for release this year. What’s the title? Will it have special guests?
Daedelus: The album is entitled “Bespoke” and features guest appearances from Milosh, Inara George, Bilal, Amir Yaghmai (as Young Dad), Baths, Om’mas Keith, Busdriver, Poirier, Pete Curry, and a first release from vocalist Kelela Mizanekristos. It’ll be my 4th LP for Ninjatune.
Plug One: Okay, time to play “Daedelus for Dummies.” If you could recommend one album(s) and/or song(s) for someone unfamiliar with your work, which would they be?
Daedelus: Let’s start at the beginning, and perhaps my first released song would be quite telling. “A Mashnote” from 2001 appeared on Dublab’s Freeways compilation, from so long ago, but I still can totally relate to the purposefully slack drums and simple melody, I hope others can hear something of now from way back then as well…
This interview was originally conducted for the Sacramento News & Review. It appeared in the January 20 issue.