Perhaps it could be argued that the lack of freneticism here is a sign of maturity, an intentional “contrast” to the youthful bombast of old–but perhaps it could also be argued that we’re all going to grow old and die soon enough, so why rush to squeeze even a week’s worth of youth and energy out of life?

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… everybody wants a piece of him–Computer Jay, Daedelus, SAMIYAM, Dimlite, Gonjasufi, and half a dozen others all make cameos—but aside from a few monome-munchin’ beats here and there, and some great guest vocals, this thing is still Gaslamp throughout, full of nods to international psychedelia and live-sounding drum beats and synths so harsh, they could almost be guitars.

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This album is one of those most rare gems, an album that follows through on the promise of hip hop and breakbeat that rarely gets fulfilled: full sample immersion that leaves its sources big and bold yet fully, delightfully rearranged, a true collage braided together lovingly with original combinations of boxy beats and tinkling treble tones.

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Daedelus is a perfect Victorian gentleman who makes beautiful records about wars no one cares about and the virtues of handmade clothing. 2011 marks ten years of his recording, celebrated now with the release of his latest Bespoke, as well as a third Magical Properties tour, and shows at SXSW and Coachella. This is truly his year, as it should be. He speaks now about this world’s many failings and the oncoming alien battle we’re all going to face. This interview by Lainna Fader.

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This is an incredibly sophisticated and accessible record—commercial, but in a Brian Wilson kinda way. It takes colossal experience and skill to make something that sounds this effortless and natural. Bespoke is a high-point of Daedelus’ discography—fans will find the sounds they know and love, but this is the record that’ll open the minds of new listeners worldwide.

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