Daedelus is a member of an exclusive club of producers who have forged a unique voice. Not the literal kind of course, but a complex, recorded persona which leaks through the cracks in these idiosyncratic tunes. This is one of the rare cases in which the hype and press releases match what’s on the record. Brazilian and Latino rhythms are referenced frequently, but never derivatively, here they are always positively bastardised, spliced with incongruous elements, and relentlessly chopped. Like Clockwork Springs is a brilliant exercise in rhythm and pulse. Lights out was a highlight, tempos flipped effortlessly amidst lazy strings and vibes. Patent Pending was just as impressive, with fluttering flutes cutting through subtly executed fuzz.
I don’t quite believe the rhetorical accompaniment to this album – that it’s a departure from Daedelus’ earlier sample based style. Though there are loads of synths and electronics, I think honesty would dictate that this is still a sample heavy record – nothing to be ashamed of in my opinion. The album is full of the trademark string cuts, and subtly blended antique textures that featured prominently on Exquisite Corpse. Fans of a less frenetic style might find this disc a little bewildering, but as with the best records, it doesn’t give up all its secrets on the first listen, persistence is rewarded with uncovered nuance. Daedelus is all over every single element in this mix – it’s a dense, heady, and playful piece of music.
Denies the day’s demise does exactly what the title suggests, it made me feel good about music, and reminded me that the familiar contains possibilities worth exploring.
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