DAEDELUS
It takes a rare mad genius to sit in front of a computer and piece together rare art pastiches comprised solely of sound. L.A.’s Daedelus, (a.k.a. Alfred Weisberg-Roberts) seems excels at this and is poised to make an assault upon the artsy electronica throne so proficiently manned by Prefuse 73 for the past few years. Daedelus’ new EP, Throw A Fit (Alpha Pup) takes a decidedly more playful tone than 2005’s Exquisite Corpse (Mush) and still features the man’s trademark whimsy. Maybe that’s because the main guest star of Throw A Fit is Subtitle, he of the trademark goofy nerd-rap delivery, rather than MF Doom, Cyne and Sci, the ominous sounding featured players on Exquisite Corpse. Regardless, Daedelus creates a veritable poppy field of fancy with every track he composes. He’s also prolific, with a slew of releases in the works to follow up Throw A Fit: one with the Long Lost (co-produced by Laura Darling), two with Adventure Time (his collaboration with Frosty) and a new solo album entitled Love To Make Music To. He’s also, in his words, “twirling, twirling, twirling toward freedom.” Here are are some other of his delightfully fanciful answers to my dreadfully straight-man questions.
It’s interesting that you chose the Greek name “Daedelus” as an alias because he was credited as a creator of images – not sounds. What about the name applied to you?
Daedelus: He was an inventor, greatest of his age, something I aspired to be from a young age. Daedelus was a natural fit, a proclamation of where I want to be more than who I am. It is not as hip-hop or “IDM” (intelligent dance music) as it probably should be, but I’m happy there is room to grow.
Do you have any training on instruments, or have you always worked electronically?
I’ve been playing since I was a kid and have always supported instruments in a way, bass clarinet and double bass mainly. Both are usually in a larger context of instruments, and I was no soloist. But over time I developed through small ensembles and marching bands, and ska groups and surf rock. So it has stayed important but also changed electronically
It really depends on the moment. Most of my music is some sort of war between samples and live sources. One side trying to infiltrate the other, stab the other in the heart. I do find the songs that seem to resonate with people are often quickly made, or the general outline is seemingly born whole from the start. So I’ve chosen music tools that allow me the most speed as to capture those moments best.
It’s taken some time, but it finally seems as though DJs, beatmakers and remixers are viewed upon as valid artists now by the majority of music listeners. Do you feel somehow validated that people do count you, Prefuse 73 and others as artists?
It still is a case of haves and have-nots. Right now it is on names more so than musics, and it is harder than ever to get one’s name out. And anyone with a clever mash-up can get fleeting attentions. Some may last and prove to be Danger Mouse and others will just quickly go away. I’m happy when people struggle with music and passionately listen. That validates any music more than a banner ad that leads to a purchase of a single and no more. But beggars like myself can’t be choosers, and thank goodness for downloads. But it is all fleeting as it should be. It makes you work hard for the next release.
JEREMIAH GRIFFEY