All of his records have invoked this influence, but Love To Make Music To wears the reference clearly on its sleeve, as it finds the artist surveying the current landscape of dubstep, electro, hip-hop, and Baltimore club music.
Since catching the ears of Ninja Tune, Daedelus has released his most polished records yet: 2005’s Gilded Age-meets-future-rap number Exquisite Corpse, and 2006’s Denies the Day’s Demise, where he masters the grandness of his samples while exploring the samba idiom.ĭaedelus, a student of classical jazz, fell in love with rave music at age 14, when he first heard U.K. On 2002’s Invention, he defined his atmospheric, intense-yet-sexy sound, while ’03 and ’04 yielded five more full-lengths, including The Weather–a collabo with MCs Busdriver and Radioinactive that he calls his “moon-bounce hip-hop record” and Of Snowdonia and A Gent Agent, two doe-eyed sleepwalks whose swirling synths and choppy beats occasionally coalesce into an all-out jungle frenzy. avant-beats scene since 2001, starting with Portrait of the Artist (Distill) and Her’s Is > (Phthalo). Though Love To Make Music To may be Daedelus’ most high-profile album yet, he has been a prominent fixture on the L.A. And though he can’t save dance music from repetitious doom and drone, the modern-day Daedelus (spelled differently to avoid confusion) may just be able to save a few souls on the dancefloor–especially with his new album, Love To Make Music To.
He had an interest in mythology, and particularly enjoyed the story of Daedalus, a skilled craftsman and ingenious inventor.
Young Alfred was not tromping about shirtless on a skateboard with the Z-Boys in his hometown of Santa Monica, California he was inside reading, learning how to play classical instruments, and traveling through fictional worlds of his own creation. As a child, Alfred Weisberg-Roberts was a loner.
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