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 (vintage big bands, easy-listening muzak, show tunes) and field recordings to hip-hop beats. and mixing sci-fi electronica and orchestral kitsch. The source is often the orchestral pop music of the 1950s, and Daedelus excels at completely transforming the source in glitchy and off-kilter instrumentals such as Pursed Lips Reply (the standout) Adventress and Loded. There's also some rather annoying rap, and most vignettes don't quite coalesce.

He continued to perfect his art of sampling and warping on 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 are a mixed blessing, but in general this is the most ambitious of Daedelus' works yet. Best are mutant ballads like Dearly Departed, Now & Sleep and Cadavre Exquis. Most instrumental vignettes are still bland and uninspiring, which, added to the hardly groundbreaking rapping songs, makes for an overall dull experience.

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?).

There was little of notice on Drown Out (2013), The Light Brigade (2014), Labyrinths (2016), Taut (2018), The Bittereinders (2019), What Wands Won't Break (2020), Simmers Over (2022) and Xenopocene (2023).