At the very end of the year his last album The Light Brigade was released, we saw Deadelus with Filosofische Stilte in the Hague’s Paard van Troje. Daedelus treated us an intimate and grandiose concert at the same time, a very energetic, powerful live performance.
The day after his show we did a short interview with him while he was already back at the airport, heading for Los Angeles.
When did you know you wanted to be a musician?
Slightly after it dawned on me that I’d never be a proper inventor of things (an early obsession, around 5 or 6 years old). Music seemed like the best medium for making, even if it wasn’t to be weighty and physical… well that’s exactly what I’ve been pursuing in sound recently! so not totally falling flat.
What is your earliest musical memory you have?
This is not quite clear as a bell remembrance, but I recall being absolutely transported by the radio. Los Angeles airwaves are pretty diverse and unpredictable. I remember scanning between mexican dance stations, parliament funkadelic, and 80s goth-y bands in quick bursts of plunderphonic portmanteau. It was thrilling and felt transgressive, but really it was just the mix LA’s been doing.
Can you tell something about your process as a producer? You’re pretty musical, play your example all in itself and what is the role of your favorite tool, the “monomer” Do you always use this?
I’ve been using the Monome since 2003, and before performing with other instruments I went to school for or picked up along the way, but nothing mastered, nothing classically perfected. I’m a good poster child for the “not too talented, but lots of sweat and tears” variety of creative person. There is this perfect sound I’ve been doggedly chasing for my entire life and I fear I’ll never quite catch it… but happy for the pursuit.
You live performances are pretty impressive how this came about to what it is now?
I recognize how electronic music can leave people excited at the sound but perhaps confused (a gentle word) when performed. All to often the audio acrobatics in the studio don’t reflect in the “press play” current culture associated with EDM and most current big name DJs. This isn’t a new phenomenon it’s just more possible to pantomime with software of our now. So way back in 2003 when I was trying to find the best way to reflect my sampling creations, the Monome was such a compelling answer! and I became involved very quickly from it’s inception. Fast forward to 2014 and we see a whole range of controllerism that is compellingly musical and still being figured.
I’ve been living my passion for over 15 years now, and although nothing feels promised, and tomorrow it could all end with one spectacular bad review or touring accident, I am very proud to still feel vital in this fast moving electronics.
Is Los Angeles the ideal breeding ground for “experimental” electronic music and hip hop?
It certainly is drenched in those colors! I point towards the persistence of our scene despite it’s now many years of fruition.
What are you most proud of?
Still existing is pretty incredible! I’ve been living my passion for over 15 years now, and although nothing feels promised, and tomorrow it could all end with one spectacular bad review or touring accident, I am very proud to still feel vital in this fast moving electronics.
What else is on your musical todo list?
So many places yet to play! Some many sounds to explore!
On instagram we see quite often plants / flowers come over? Do you have a green thumb?
I wish! Beauty in the world interests me greatly. Instagram is quite a space to fit these small moments of connection. The natural offers so much.
Who should we interview after you?
All of the Los Angeles regulars and up-incoming, also Shigeto, P. Morris, James Pants, Jimmy Edgar, and all those who are so incredible in their musical perspective.
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