Q&A with Daedelus and Chris Craft

CC: First of all, how are you bro?

D: Great, good; making music, living, in that order.

CC: The Los Angeles music scene is absolutely ridiculous right now. With you and cats like Flying Lotus... you guys are really pushing music forward into new realms. What inspires you all to be so innovative and groundbreaking?

D: The beat community is very open, sharing techniques and ridiculous records to get inspired to. It's very interesting to know the musical ground beneath our feet here in LA, Central Ave., Sunset Strip, Leimert Park and all the groups and sounds sparked from the various legacies... but before we fall back you're right there is a lot of current music that is really nice. Lotus is on fire right now! but there are plenty more hopefully that'll start getting name attention soon...

CC: Do you have any new instruments or gadgets that you're using in your recent creations?

D: Always striving for new approaches and sound sources. I was trying lots of circuit bending previously, same with modular synthesis, but it always returns to sampling no matter. My other current constant is the Monome, built by Brian Crabtree out of Philly. It is an amazing machine for live and I'm discovering in the studio as well. Anything to break out of habits and crutches.

CC: If you want to disclose... What do you use to do most of your drum programming and song sequencing?

D: I'm a Protools user. I get juiced working fast and getting close control over the various moments. Probably works against me at times.. not having very loop friendly material means my stuff isn't always the easiest to dj, but perhaps in more intimate listening situations the extra effort pays off?

CC: What's the one piece of gear, software, or instrument that you just can't live without? And is there a piece of gear or software that you wish you had never started using?

D: I am always seeking out more. Trying to get decent with various instruments. Pulling something else from what is mundane. Rarely succeeding; so conversely I wish I never started doubting every beginning, wondering endlessly, playing too much, etc.

CC: Do you think technological advancements in music have done more to help or hurt music?

D: Playing an instrument, with history's weight within, it is easy to hide behind a computer screen and its relative new-ness and endless places to procrastinate. But no matter it's truth, if the song is good it'll be good in any format, with any approach.

CC: Do you find that some producers abuse the art of sampling and use it more as a crutch rather than utilizing the sampler as a true instrument? If so, what are your thoughts on the subject?

D: Mash-ups are not sampling. They are just crossing your eyes at two sound sources.. generally leaving you looking stupid or comical. Sampling is a transformative action that revels in the idea of the original and can then create originality.

CC: How have you grown and progressed as a musician since your first commercial release?

D: Resoundingly yes! Never sit still. Never believe your own press release. Never allow for bitterness.

CC: What can we expect from you in 2008? Any surprises?

D: A new LP of Daedelus material, a LP by Adventure Time (with Frosty of Dublab.com), a LP by The Long Lost (with my wife Laura Darlington), and hopefully lots of remixes and production for groups like FMB (a project with members of Sa-Ra and myself)

CC: What's the best and worst thing about doing music with your significant other, Laura?

D: We know each other too well and it can be hell in the studio when you know no matter how you might disagree.. it's going to stay with both of us outside the studio all day. I've spent many a dog-house night because of a simple disagreement that ends up fraying the nerves. But I wouldn't miss that for the gained advantage of touring with her...

CC: When are you gonna do some music for the thugs man? The hood needs you Alfred.

D: I make some tough music for electronic heads occasionally.. mostly breakcore, some dubstep like songs, mixed up genres. But straight up gangster songs are for gangsters. I know that I'm not thug enough on my own. Now this project with these Sa-Ra kids will have a little extra edge, but it'll be subtle at best. I think a long time ago I decided to focus on other emotions. It's a hard road at times, but rewarding when you know that you've tried something different.

CC: Lastly, what happened with that whole Donnell Jones thing and him sampling "Accordion"? Did that all get worked out?

D: Well my credit on the Madvillain record was last minute. "Accordion" almost didn't make the cut if I was told correctly. I knew from working with Madlib previously that he did some additional work and then the remix of "Playing Parties," and it was a wonderful surprise to hear his flip of "Experience" become this "Accordion" .. so it's there as the only sample credit on that record.. and I think people were feeling that beat especially, but of course then others are working with it.. probably exploring using it.. and perhaps thought that I had sampled someone else to make my original.. so thinking that I would lift a finger for fear of exposing myself. Well, needless to say, it was all played and I just had to let a few people know what was up and it became an interesting story for me. More than anything else, I can be proud to say I've worked with Donnell Jones. However remotely, it beats crossing my eyes as previously mentioned.

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