DT probes… Daedelus - an interview with Alfred Darlington
Daedelus is Alfred Darlington of Los Angeles. His tunes have an infectious groove that make you want to dance and be merry. For the uninitiated and the devout alike, the only real way to do Daedelus justice is by seeing him perform live - DT can’t give you that, so check this…
There’s also a slew of very pretty videos to his tracks, one of the most popular of which is this little ditty.
Daedelus is currently working on an LP, Bespoke, for his own Magical Properties label, and an EP for Flying Lotus’ Brainfeeder.
Daedelus is currently plodding round the United States with Nosaj Thing and Jogger in tow, and will be completing a European tour in the Spring (we’ll get the dates up when we find out!). Alfred also graced The Basement in York for a very special small-scale gig promoted by one of DT’s own in October 2009 - see his reaction above.
Anyhow…
Here’s DT’s interview with Daedelus. We find out what inspired him to set up his label Magical Properties, how pirates gave him a helping hand and why being hungry is sometimes a good thing…
DT: You recently set up your own record label, Magical Properties, releasing some rather wonderful tracks by Jogger. What inspired you to set up your own label?
Like so many others I am passionate person when it comes to music, and it is frustrating to hear good musicians who are hording their sound. The duo Jogger certainly fell into this category, having worked with them on some of my previous recordings, I was frustrated by their quality of music, but lack of output. Of course they were just trapped like many a young artist in the old conundrum of “you can’t release music unless you’ve had a release”, so at certain point when push comes to shove you have to bite the bullet be part of a solution. And I would have started Magical Properties for this reason alone, but of course there are other more esoteric reasonings as well; I don’t need to bore your readers with.
DT: You’ve released some great collaborative records, such as with your wife as The Long Lost and as Adventure Time with Frosty. Do you have any other joint records or tracks in mind or anyone you’re particularly keen to release with?
I do have dream collaborations, most I should not speak on or like a birthday wish they won’t come true. But I can say I have had the good fortune of working closely with some talented emcees, and I’d like to delve further into a LP in that context someday, or perhaps a talented instrumentalist, like a piano player or stringed instrument. All hopes for the future to have another LP released much less such wonderful options.
DT: Playing live your shows are really intense, centering around your interaction with the monome. When you’re working in the studio do you have in mind how the track will work live or do you just focus on the mood you’re trying to communicate?
Over time it has become more difficult to separate the two situations. I try to be true to the song so to speak in the studio, but the thrill of what might happen live has me thinking about combinations a lot. Hopefully it is all expressive enough to have room for lots of different ideas or else either or both will become boring and stale.
DT: Your music is an intricate pattern of sounds, noises and samples not quite like anything else I’ve heard. How do you go about constructing a track in the studio?
As in the above question this idea of paying the song’s due, being somehow true to it (as silly as that sounds) is paramount. So whatever sample is needed, however frivolous or complicated it’s worth pursuing. This might not sound so very composerly an attitude, but I think this prevents corruption by my own frequent doubts.
DT: Los Angeles is so rich with music at the moment. How do you feel that living in the LA area has affected the development of your sound?
Not immune to the pushy beats and bass that Los Angeles has become so well known for, but of course it dates back further when LA’s Central ave. Jazz scene was hot, or the Sunset Strip rocking so hair-metal hard. LA is quite a musical heritage to try and ingest. Like a deal with the devil it offers so much but often seems to require a lot as well. The city does eat people on occasion.
DT: The Low End Theory is famous worldwide. Do you feel that you’re part of a ‘scene’ there? Do you think that this has affected your sound at all?
LET is an incredible night, certainly a focal point for this “Beat” scene, and quite a crazy collection of people celebrating bass and beats. Just having those wonderful 800 or so ears listening changes things, you can’t go play there without stepping it up. It probably singlehandly change my sound for the harder. That is weird to write, but it’s true.
DT: You spent some time in London in your youth and were exposed to rave music - did this change your music in terms of your goal or the creative process at all? Or did it have a different effect?
In 1992 I spent a very brief two days in London before for Wales with my family. At that time I accidentally tuned into some pirate radio and the sounds completely captivated me. I had been previously exposed to Rave music, but if you can imagine this, totally unmixed tunes and without a voice toasting across the top of it. So it was like hearing it anew and wonderfully so. All I wanted to do was make those feeling I had for that sound, but at that time I thought I was going to be a jazz musician, quite a different mix. So eventually those feelings won and I stopped trying to play jazz and start making my own pursuitful electronic sounds.
DT: Who are some of your favourite artists and bands at the moment that we should be checking out?
Some real talents that are beginning to get some notice (or deserve far more) are Nosaj Thing, Teebs, KidKanevil, Illumisphere, Dibiase, Ras G, Mr. Gasparov, Baths, Samiyam, but there are so many more…
DT: At what point were you able to give up employment to focus solely on your music? Do you have any tips on how to effectively manage music making when faced with having to work for a living?
Best piece of advice I’ve recieved is prepare to be hungry. Be so singular in your focus not to care if money is made and you’ll have a sucessful career no matter. Things sometimes work out, and around 8 years ago I made music my full time employer and have been ok or better ever since. Sometimes there will be a lean month but it is good to be hungry in this music game.
DT: What’s your favourite children’s character and why?
My Neighbor Totoro is a good one. That insane grin is Alice In Wonderland without the menace.
