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"Feel is everything. The rest is just colour." Daedelus


Hey. Get your feet off my coffeetable. You don’t have to dig Daedelus. In fact, the sporadical ‘lectro god from LA kinda hopes you hate his astonishing new opus ‘Love To Make Music To’.
   “All of the albums I’ve ever really ended up loving, I’ve hated at first. I like records you have a relationship with, sometimes stormy, but unforgettable. We’re kind of being tutored by the industry at the moment not to have that kind of relationship, to USE music and move on. I like records that come back at you until you can’t resist.”
   Daedelus (known by pals and the postman as Alfred Darlington) has been knocking out wonder-on-wax for nigh-on a decade now – after a brace of startling releases on Mush, Plug Research, Hefty, Tigerbeat6, and Eastern Developments (check out his work with Busdriver as well as O6’s riotous ‘Denies The Days Demise’) ‘Love To Make Music To’ finds him on Ninjatune & letting loose the most confident, instant-hit noise of his life.
   “Spending a lot more time in Europe dj’ing in the small hours for the kind of fucked-up pilled-up audiences who demand your music is all over the place, way happier with the label I’m on – it’s all contributed to more confidence I think, even though I’m still amazed anyone gets to hear what I do. What you have to learn making music by yourself is that it’s not just about getting enough tracks together to call it an album. It’s having a REASON to create, something you NEED to express. Feel is everything. The rest is just colour.”

   Something born out as soon as the din of Daedelus hits your tympanic membrane: the freshness of D’s mentalist-melange of hip-hop, electro, bass-heavy techno, d’n’b, jazz & funk is in it’s willingness to be rattled, personal, intuitive, IMPERFECT. There’s a spontaneous, improv sense throughout D’s music that what he’s after isn't the perfect take, or the most painstakingly worked out soundscape, but capturing a moment/idea/quickly, when it isn't even fully formed, before it has the chance to make sense or stop joy.
   “Because when an idea’s done, it’s done, it’s dead, it’s over. Once I see the sound/visualize what I want or feel, then it’s very quick for me to make it. I have to nail it quickly and be kind of dissatisfied with it, then I stop – so long as it has the emotional content, so long as I’m feeling it that’s it.”
   This is no hermetically isolated sonic-Pollock though – the collaborations that pop-off within Daedelus music are always key, never pointless cameos, always more than the sum: having worked with MF Doom, Mike Ladd, CYNE, Laura Darling, Prefuse 73, and the mighty TTC on previous albums, ‘Love To Make’ sees the Sa-Ra production crew etc join in the surge and spin myriad magic into the swirling stew. It’s not surprising when D tells you the first record to blow his mind was Acen’s “Trip To The Moon”– his sensibility clearly comes from that nutzoid moment when rave, hip-hop & d’n’b were grabbing everything they could ramraid into the rush.

   “The thing you learn from Public Enemy and a lot of the music from that era is that it ain’t just about getting the right samples, it’s about breaking them up, smashing them apart to get closer to the sound of your own head. There’s a little bit too much politeness in music at the moment – a little bit too much music that just seems to want to enter storage, be ‘respected’. Rock musicians wanting to sound as perfect as electronic music. Electronic musicians wanting to sound like bands. None of it actually reaches through and moves you.”
  ‘Love To Make Music To’ doesn’t give you a choice. Listen. Move. Welcome joy back in brain and booty. And that coffeetable’s getting stomped to sawdust. If you ain’t dancing you’re dying.


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