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Invention (2002), 6.5/10
Exquisite Corpse (2005), 7/10
Denies The Day's Demise (2006), 6/10
Bespoke (2011) , 4.5/10

Busdriver's Los Angeles-based white producer Daedelus (Alfred Weisberg-Roberts) painted the disjointed murals of Her's Is (Phthalo, 2001) and Invention (2002), setting collages of samples (big bands, show tunes) and field recordings to hip-hop beats, mixing sci-fi electronica and orchestral kitsch.

He continued to perfect his art of sampling and warping with the even more savage collages of Rethinking the Weather (Mush, 2003), Of Snowdonia (2004) and A Gent Agent (2004), culminating in the elegant retro parade of Exquisite Corpse (2005), where the samples of orchestral music of the 1930s come to constitute the musical equivalent of a collective stream of consciousness. Guest appearances by MF Doom, Prefuse 73, Mike Ladd and many others made it the most ambitious of Daedelus' works yet.

Dispensing with the guests and with the hip-hop beats, Daedelus turned to Latin music and more straightforward disco-music for Denies The Day's Demise (Mush, 2006).

Daedelus' problem is that he doesn't seem able to go beyond the fragment. His albums are fragmented into brief vignettes that sound like a salesman's demonstration of sophisticated appliances... without actually showing the appliance.

Bespoke (2011) is harmless muzak made tedious and unpleasant by seven guest vocalists, none of which contributes much (except Busdriver on What Can You Do?).

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