Alfred Darlington AKA Daedelus doesn’t like doing things the same as everybody else. He dresses differently, taking inspiration from Victorian-era fashion. He makes music differently, embracing all the diversity and contradictions that his hometown of Los Angeles has to offer. He even spells his name differently, flipping around the order of the letters of the title of the figure from Greek mythology that he takes his inspiration from.

Nonetheless, that’s exactly why the fans of the groundbreaking (and ever so different) electronic musician love him so. Following the release of his acclaimed album last year Love To Make Music To, ITM talks to Daedelus ahead of his tour with the St Jeromes Laneway Festival that kicks off this weekend.

You learnt how to play bass clarinet, clarinet and double bass as a teenager, majoring in jazz bass in college. How does one move from that to releasing a rave-style dance album? Growing up, you must have had extremely diverse styles of music around you?

Los Angeles as spiraling and confusing in its sprawl, and is equal home to such twists and turns as the Central Avenue jazz scene, gangster rap, punk and post punk 80s legends, hair metal, The Doors, Motown, Charles Manson and many more, infamous and famous. Not to say what I’ve done is at all on par with these, but of course it is in the drinking water to a degree to freewheel… It doesn’t hurt the rave side that I was at just the right age to be completely dumbstruck by the sound.

Loving your Victorian style of dress. Have you always been experimental with your style, and when did you settle on your current look? In what way, if at all, is your fashion sense associated with your style of music?

Improbable as it seems, it has everything to do. I started my interest in music as a wannabe inventor, and the last great age of invention I believe was in the Victorian, so I studied up as best I could on the 19th century and just fell for the wear a little later. Also it doesn’t hurt my wife like to dress up now and again as well… Nothing wrong with corsets and spats. It has stayed for me because of what it means as well, the Dandy does everything with Art in mind, his appearance is an artform in of itself, and I’d like to think my music is as meaningful, but mostly it just bzzs and clicks around…

You’ve mentioned that, as a kid, you wanted to be an inventor when you grew up. Is this why you chose the name Daedelus, and why do you spell it differently to the traditional ‘Daedalus’?

I am not so good with spelling and enamored as I have been with invention, I couldn’t even spell the fellow’s name who made the wings of wax, thusly my mis-name is from a try at spelling it long ago for my first gig… Now I am just happy about the Google searches made easier and a strong lack of lawsuits over trademarks.

Your music sounds quite lateral. What I mean by that is it has an extremely unique and experimental quality. Can you explain your process for developing new tracks?

Thank you for finding it tuneful enough to be called music! Songs come mostly from one strange start to rushed sessions of composing and arranging. Be it with riddims first and then melody applied or harmony giving way to samples, or any combination. I don’t feel happy with any one method, I think if I did I wouldn’t have the compulsion to make more music. I must admit lately there has been quite a few live gigs and a lot of studio time is spent making what I’d like to be deconstructing in front of others.

How did you come to name your latest album Love To Make Music To?

I know it isn’t the cleverest turn of phrase, but I like the fact that it kind of makes a blurry sense and at once it also begs a question. Love To Make Music To... and of course my answer is ‘Rave To’, but perhaps someone else feels wholly different and that’s just as cool, they can have it as ‘Bath To’, or ‘Cry To’. No wrong answer.

Do you have favourite producers, artists or vocalists you’ve worked with in the past and, if so, who were they? Is there anyone you’re working with in the near future who you’re particularly excited about, or anyone you hope to work with?

I have had luck in this way. A few highlights have been MF Doom or Busdriver certainly. But each and all bring something else, nothing worse then stewing in your home studio mostly saying the same thing again and again in song, much better to have a co-conspirator to shake things up. The next record I am busy in right now will have some voices I have been pining for, but I dare-not say or like birthday wishes they would never come true.

You’ve switched around and developed your style from album to album in many ways. Samba one moment, hints at drum n’bass… Is this something that evolves naturally for you, or is it a conscious effort to ensure you’re constantly thinking outside your own box?

Albums tend to be collections of one moment or other, songs tend to gang up with each other, and my floor is littered with unused songs that never fit in. For me most of that comes from the label I am working with, trying to be a productive member of their society, so to speak.

You’ve performed at major festivals, intimate events and electronic arts festivals, and have even lectured in some parts of the world. What have some of your favourite experiences been?

The intimate ones are best certainly. Dusty rooms in Japan or Italy were the capacity is tiny enough to share eyes with all. Don’t get me wrong playing for thousands is a rush and terrifying fun, but not as emotional. Speaking of which I’ve heard such good things about the OZ scene that it couldn’t possibly live up to all the praise, but I am hoping for it to be the case, and proven the party is as strong as my previous touring friends have said.

A lot of people are looking forward to you coming to Australia, with plenty of fans mentioning Love To Make Music To as a favourite album of 2008. Are you looking forward to performing as part of the St Jeromes Laneway Festival?

I am in awe of the line-up assembled, very happy to be on at any hour, and just kick back and enjoy the rest of the nights as anyone. I get the fun of traveling in these Lanes for a few gigs and hopefully showing strong for the weird beats and dancing kids that may make it out.

One last quick one – aside from your Monome, are there other pieces of equipment you can’t live or work without?

Monome is the hopes and dreams, the laptop is the reality, and really it is the suits I feel naked without at this point.

Daedelus tour dates…

Sat 31st Jan – Beck’s Festival Bar, Sydney
Sat 31st Jan – Laneway Festival, Brisbane
Sun 1st Feb – Laneway Festival, Melbourne
Fri 6 Feb – Laneway Festival, Perth
Sat 7 Feb – Laneway Festival, Adelaide
Sun 8 Feb – Laneway Festival, Sydney