Set the scene, the grand former Victorian theatre, with stalls rammed and the circles lined with people and taking centre stage is a menacing figure lurching vigorously as if conducting some demoniac ritual. Daedelus looks like he’s from the same era as the venue, dressed in a tatty three-piece suit complete with muttonchops. In front of him, at his mercy, is a medley of complex control interfaces which have backlit buttons arranged in a grid that flash like a 2001 space odyssey computer. He systematically toggles the appropriate buttons, which adds a new sample to the already manic ensemble. This occurs in rapid succession and each time he does it, he gesticulates like an orchestral conductor and pulls an ominous facial expression, similar to Jack Nicolson in The Shining. Behind him are stacks of convex mirrors which move independently, reflecting the projected light behind Daedelus, silhouetting him. The music is a mash-up of the highest complexity, chopping and changing every other bar. Although it is hard to say, I would describe it as having a constant up-tempo minimal tech undercurrent with massive dubstep-esque synths, hip-hop breaks along with Daedelus’ own brand of glitch. Clearly his technical production abilities translate well into an intricate and diverse live show. However, he definitely geared the set up to be filthier and more danceable but not necessarily more accessible. I’m not saying he was playing to the crowd at all, it was still abstract, but his album material is more down-tempo and atmospheric. Oh and it was a lot, lot louder. It looked as though Deadelus thoroughly enjoyed rattling everyone’s innards almost to the point of vomiting. On the contrary, everyone including myself enjoyed his set and if you get a chance, make sure you go and see him.
