Fred Everything Interview

Fred Everything is one of those producers/DJs that everyone knows the name of but in researching for an interview it was clear while we'd all have a track or two of his in our crates, what we actually know about the man behind the music is anything but everything (see what I did there?) - so I wanted to know more about what makes Fred tick.

Thanks for taking time out of your schedule for UM... I’ve read lots in advance of this, but I wanted to kick off with what were your early influences and what got you into house music and DJ’ing?

I always had a fascination with electronic music from a young age. Growing up in the 80s, synthesizers and drum machines were all over the radio. I started collecting synths and electronic instruments from a young age and formed a few band projects, which were more alternative hybrid (Bass, Vocals, Synths, Live Electronic Drums). I started going out to clubs at a very young age, thanks to a fake ID, and became friends with the DJs. Once I was exposed to club music, my music changed and I eventually started playing live in Raves which eventually led to becoming a DJ.

Were you playing deep house before the sub-genre was really know? What attracted you to the style of music specifically?

I touched a lot of different styles when I started, hence my name but I’ve always been attracted to the deeper end of the musical spectrum. It has more to do with my personality and what I want to express with my music. It was pretty hard at first because Deep House was not popular at all. It was considered back room/chill out music. My first trips to San Francisco (1995) and London (1997) re-affirmed my tastes in this kind of music.

Favourite labels, artists or tracks from the back in the early 90’s?

Early 90s, I was into Warp, Network (Bio Rhythm compilations) then moved on to labels like DIY, Paper, Nuphonic and 20:20 Vision towards the middle-end of the 90s.

How did you move from being a DJ to being a producer?

It was actually the other way around. I was making music first. DJ came after. I worked summer jobs as a teen to afford my first synthesizers so I couldn’t afford another expensive hobby like DJ’ing. I didn’t think I had it in me until I synced my first breakbeat to the tempo a track in my sampler. I figured I could do the same with records!

What makes the stuff you do with Jimpster so much fun - you guys always look like you’re having the best time and often collaborate?

We’ve actually never worked together in the studio. He was just here last weekend for 24 hours and had a go at my synths in the studio. We played together a few times in the past and have gone b2b twice. I think we will do it again. We both did remixes for our labels and I did an EP on Freerange a long time ago. He’s also a big inspiration for me as a producer, DJ and label owner.

What do you enjoy most about DJ’ing?

I enjoy travelling and meeting people and If I can provide a soundtrack for people to forget about their worries for a few hours, then I did my job. I love music and love to share it with people.

Favourite venue to DJ at?

For a long time it was Fabric in London. I also had an amazing time both times I played at It’ll Do in Dallas. But nowadays, I’m having the most fun at home for my Lazy Days residency at Salon Daomé.

Who are your personal favourite DJ’s to hear play?

I came up listening to a lot Chicago and San Francisco DJs. People like Mark Farina, John Howard, Diz, Derrick Carter. Some of the DJs I’ve enjoyed lately would be Mr Scruff, Eddie C, Atjazz, The Revenge, Jimpster and Nightmares On Wax.

Do you see yourself as either a DJ/Producer/Label owner more than one of the others?

I’m a producer first as this is what I first started with. Having said that, I put a lot of love and time in everything I do. I spend countless hours researching new music, organising and preparing for my sets. Same goes for my label. Although I sometimes feel like there are not enough hours in a day to do all of it!

What does your average day involve balancing all of them?

A perfect working day would involve admin stuff in the morning, music making in the afternoon and relaxing in the evening. Unfortunately, admin often takes over and I end up in the studio for a few hours in the late afternoon and late after dinner. I’m constantly trying to find strategies to stay organised, but it’s not always easy. Another important thing is taking personal time for myself and my friends/family and gym 3 times/week to stay healthy.

How do you approach production - do you have a routine or wait for inspiration to come for music?

I guess the #1 rule would be to show up to work. Inspiration doesn’t come out of nowhere. It has to find you working. The most important thing for me is to go to the studio every day. Even if it’s just to play some piano, explore synths and sound design or even just going through samples and plugins. Anything that keeps me going creatively is important.

What’s your typical production set up?

I mostly work with hardware synths, drum machines, fx…I think this is because of how I started. I’m just used to it.  Also, I love how these instruments sound. Favourites include Moog, Dave Smith/Sequential, Classic Roland, Arp and Oberheim. I usually use my DAW (Logic and sometimes Ableton) as a glorified multi-track tape machine. This is where I assemble my parts and put it together into a song. I’m not a purist though. I will use a soft synth if needed and I do use a lot of plugins for my processing. I can’t live without my UAD bundle.

Any key things you think every aspiring producer should know or do to make their best music?

Do your most honest work. Find that one thing makes you unique. Steal like an artist (check out the book by Austin Kleon). Take your inspiration from multiple sources and make it your own. People want to hear YOUR story. Keep studying, keep learning and stay humble.

You’ve featured on some incredible labels over the years, 20:20, OM, Shaboom, Drumpoet, Buzzin’ Fly... the list goes on, what attracts you to another label? Reputation, the people, something else?

Most of the time, it happens organically. I’ve been fortunate to meet a lot of great people in my career. When I first started, I made a point of meeting everyone I was working with or that I wanted to work with. I went to London a lot, took the train and paid visit to labels and producers. I haven’t done this in a very long time but this created the basis of the community I’ve worked with. And from that community, other branches form and it’s easier to connect from the root. I feel very fortunate to still be friends and work with people I met back then.

I read you also wrote articles for XLR8R mag... how did that come about?

I first visited San Francisco in 1995 and met people who worked for XLR8R. It was years later that I was asked to do some reviews for the House section, when the magazine was still in print.

You’ve been a prolific remixer over your career, what different kind of pleasure do you get from remixing as opposed to being the title producer?

Starting with existing parts is great, especially when they inspire you. On another hand, completing an original project from scratch is very rewarding.

What advice would you give to remixers looking to make a name for themselves?

Don’t wait for remix offers to come in. Make edits of your favourite tracks. Search for stems online or through remix contest and make your own remixes. Send them to the Artists/Labels and who knows, maybe they’ll want to release it.

You were rated No.9 on the Traxsource Top 100 - how important is the recognition / promotion that these things bring to the things you do?

I would lie If I said that getting recognition isn’t great. I had the #1 spot a few years ago and that definitely felt amazing. It’s hard to measure its impact, but it’s a nice pat in the back to keep going. Ultimately, these lists are just a sample of what’s out there. So many of my favourite producers don’t make year end list but they would rank high on mine.

What prompted the start of your own label, Lazy Days Recordings?

I was not always seeing eye to eye musically with labels I was working with at the time. I wanted a platform for my own music as well as for my collaborators and friends.

You named your label after a bar in Grenada - what’s the story behind that?

I was on holiday in Grenada and saw this beach bar with plywood cut up letters placed on the speakers (L A Z Y   D A Y S) . I took photos of it. A few months later, I decided to start the label and thought this would be a perfect name. I even used the photos for press and flyers. Because I work from home, my days often feel like lazy days, working on different things at my own pace. I also want the music to have that feel good/effortless vibe.

Lazy Days Recordings is regarded as one of a handful of premier quality labels by many - what’s the ethos of the label and how do you ensure consistently good outputs?

Thanks for the kind words! I just want to paint a nice picture of what I’m about musically, somewhere between my production and my dj’ing. I like to work with people I enjoy and I like for things to be as simple and organic as possible.

What’s your favourite part of running the label? And the least favourite?

My favourite part would be to work with such talented and lovely people. I’m eternally grateful for someone to trust me with their music. Least favourite would be having to give critical feedbacks to artists. I’ve been on the receiving end and I know how it feels but it’s necessary for the quality control of the label.

You’re a big user of social media - do you have someone to manage that for you or is that something you do personally?

I do everything myself as it would take me the same amount of time to deliver that content to someone to post it for me, which feels counter productive. I just have to fit it in my daily schedule of things to do. Whatever I post, I try to stay positive with my message.

What tips do you have for any up and coming DJ’s to get the best out of social channels?

If you don’t have anything good to say about something or someone, don’t say anything. Use your window for things you really care about and to share your musical output.

2019 was a huge year it seems, what were the highlights for you?

Getting married and doing a second line with a New Orleans type brass band around the block in our neighbourhood.

What big plans have you got for 2020, releases, projects, gigs?

This is a big year for me as it’s my 25th anniversary of releasing music and the 15th years of Lazy Days. There will be a few special releases (Compilations/Re-Issues) but I don’t want to say to much just yet. I also don’t want this year to be just about nostalgia so I’m planning a new album for the fall/winter 2020. I have a few Remixes also coming out in the meantime and new releases on Lazy Days. I also have a collaboration in the works with a singer responsible for many early house classics.

Links

Facebook

Instagram

Soundcloud

Fred Everything Interview

Fred Everything is one of those producers/DJs that everyone knows the name of but in researching for an interview it was clear while we'd all have a track or two of his in our crates, what we actually know about the man behind the music is anything but everything (see what I did there?) - so I wanted to know more about what makes Fred tick.

Thanks for taking time out of your schedule for UM... I’ve read lots in advance of this, but I wanted to kick off with what were your early influences and what got you into house music and DJ’ing?

I always had a fascination with electronic music from a young age. Growing up in the 80s, synthesizers and drum machines were all over the radio. I started collecting synths and electronic instruments from a young age and formed a few band projects, which were more alternative hybrid (Bass, Vocals, Synths, Live Electronic Drums). I started going out to clubs at a very young age, thanks to a fake ID, and became friends with the DJs. Once I was exposed to club music, my music changed and I eventually started playing live in Raves which eventually led to becoming a DJ.

Were you playing deep house before the sub-genre was really know? What attracted you to the style of music specifically?

I touched a lot of different styles when I started, hence my name but I’ve always been attracted to the deeper end of the musical spectrum. It has more to do with my personality and what I want to express with my music. It was pretty hard at first because Deep House was not popular at all. It was considered back room/chill out music. My first trips to San Francisco (1995) and London (1997) re-affirmed my tastes in this kind of music.

Favourite labels, artists or tracks from the back in the early 90’s?

Early 90s, I was into Warp, Network (Bio Rhythm compilations) then moved on to labels like DIY, Paper, Nuphonic and 20:20 Vision towards the middle-end of the 90s.

How did you move from being a DJ to being a producer?

It was actually the other way around. I was making music first. DJ came after. I worked summer jobs as a teen to afford my first synthesizers so I couldn’t afford another expensive hobby like DJ’ing. I didn’t think I had it in me until I synced my first breakbeat to the tempo a track in my sampler. I figured I could do the same with records!

What makes the stuff you do with Jimpster so much fun - you guys always look like you’re having the best time and often collaborate?

We’ve actually never worked together in the studio. He was just here last weekend for 24 hours and had a go at my synths in the studio. We played together a few times in the past and have gone b2b twice. I think we will do it again. We both did remixes for our labels and I did an EP on Freerange a long time ago. He’s also a big inspiration for me as a producer, DJ and label owner.

What do you enjoy most about DJ’ing?

I enjoy travelling and meeting people and If I can provide a soundtrack for people to forget about their worries for a few hours, then I did my job. I love music and love to share it with people.

Favourite venue to DJ at?

For a long time it was Fabric in London. I also had an amazing time both times I played at It’ll Do in Dallas. But nowadays, I’m having the most fun at home for my Lazy Days residency at Salon Daomé.

Who are your personal favourite DJ’s to hear play?

I came up listening to a lot Chicago and San Francisco DJs. People like Mark Farina, John Howard, Diz, Derrick Carter. Some of the DJs I’ve enjoyed lately would be Mr Scruff, Eddie C, Atjazz, The Revenge, Jimpster and Nightmares On Wax.

Do you see yourself as either a DJ/Producer/Label owner more than one of the others?

I’m a producer first as this is what I first started with. Having said that, I put a lot of love and time in everything I do. I spend countless hours researching new music, organising and preparing for my sets. Same goes for my label. Although I sometimes feel like there are not enough hours in a day to do all of it!

What does your average day involve balancing all of them?

A perfect working day would involve admin stuff in the morning, music making in the afternoon and relaxing in the evening. Unfortunately, admin often takes over and I end up in the studio for a few hours in the late afternoon and late after dinner. I’m constantly trying to find strategies to stay organised, but it’s not always easy. Another important thing is taking personal time for myself and my friends/family and gym 3 times/week to stay healthy.

How do you approach production - do you have a routine or wait for inspiration to come for music?

I guess the #1 rule would be to show up to work. Inspiration doesn’t come out of nowhere. It has to find you working. The most important thing for me is to go to the studio every day. Even if it’s just to play some piano, explore synths and sound design or even just going through samples and plugins. Anything that keeps me going creatively is important.

What’s your typical production set up?

I mostly work with hardware synths, drum machines, fx…I think this is because of how I started. I’m just used to it.  Also, I love how these instruments sound. Favourites include Moog, Dave Smith/Sequential, Classic Roland, Arp and Oberheim. I usually use my DAW (Logic and sometimes Ableton) as a glorified multi-track tape machine. This is where I assemble my parts and put it together into a song. I’m not a purist though. I will use a soft synth if needed and I do use a lot of plugins for my processing. I can’t live without my UAD bundle.

Any key things you think every aspiring producer should know or do to make their best music?

Do your most honest work. Find that one thing makes you unique. Steal like an artist (check out the book by Austin Kleon). Take your inspiration from multiple sources and make it your own. People want to hear YOUR story. Keep studying, keep learning and stay humble.

You’ve featured on some incredible labels over the years, 20:20, OM, Shaboom, Drumpoet, Buzzin’ Fly... the list goes on, what attracts you to another label? Reputation, the people, something else?

Most of the time, it happens organically. I’ve been fortunate to meet a lot of great people in my career. When I first started, I made a point of meeting everyone I was working with or that I wanted to work with. I went to London a lot, took the train and paid visit to labels and producers. I haven’t done this in a very long time but this created the basis of the community I’ve worked with. And from that community, other branches form and it’s easier to connect from the root. I feel very fortunate to still be friends and work with people I met back then.

I read you also wrote articles for XLR8R mag... how did that come about?

I first visited San Francisco in 1995 and met people who worked for XLR8R. It was years later that I was asked to do some reviews for the House section, when the magazine was still in print.

You’ve been a prolific remixer over your career, what different kind of pleasure do you get from remixing as opposed to being the title producer?

Starting with existing parts is great, especially when they inspire you. On another hand, completing an original project from scratch is very rewarding.

What advice would you give to remixers looking to make a name for themselves?

Don’t wait for remix offers to come in. Make edits of your favourite tracks. Search for stems online or through remix contest and make your own remixes. Send them to the Artists/Labels and who knows, maybe they’ll want to release it.

You were rated No.9 on the Traxsource Top 100 - how important is the recognition / promotion that these things bring to the things you do?

I would lie If I said that getting recognition isn’t great. I had the #1 spot a few years ago and that definitely felt amazing. It’s hard to measure its impact, but it’s a nice pat in the back to keep going. Ultimately, these lists are just a sample of what’s out there. So many of my favourite producers don’t make year end list but they would rank high on mine.

What prompted the start of your own label, Lazy Days Recordings?

I was not always seeing eye to eye musically with labels I was working with at the time. I wanted a platform for my own music as well as for my collaborators and friends.

You named your label after a bar in Grenada - what’s the story behind that?

I was on holiday in Grenada and saw this beach bar with plywood cut up letters placed on the speakers (L A Z Y   D A Y S) . I took photos of it. A few months later, I decided to start the label and thought this would be a perfect name. I even used the photos for press and flyers. Because I work from home, my days often feel like lazy days, working on different things at my own pace. I also want the music to have that feel good/effortless vibe.

Lazy Days Recordings is regarded as one of a handful of premier quality labels by many - what’s the ethos of the label and how do you ensure consistently good outputs?

Thanks for the kind words! I just want to paint a nice picture of what I’m about musically, somewhere between my production and my dj’ing. I like to work with people I enjoy and I like for things to be as simple and organic as possible.

What’s your favourite part of running the label? And the least favourite?

My favourite part would be to work with such talented and lovely people. I’m eternally grateful for someone to trust me with their music. Least favourite would be having to give critical feedbacks to artists. I’ve been on the receiving end and I know how it feels but it’s necessary for the quality control of the label.

You’re a big user of social media - do you have someone to manage that for you or is that something you do personally?

I do everything myself as it would take me the same amount of time to deliver that content to someone to post it for me, which feels counter productive. I just have to fit it in my daily schedule of things to do. Whatever I post, I try to stay positive with my message.

What tips do you have for any up and coming DJ’s to get the best out of social channels?

If you don’t have anything good to say about something or someone, don’t say anything. Use your window for things you really care about and to share your musical output.

2019 was a huge year it seems, what were the highlights for you?

Getting married and doing a second line with a New Orleans type brass band around the block in our neighbourhood.

What big plans have you got for 2020, releases, projects, gigs?

This is a big year for me as it’s my 25th anniversary of releasing music and the 15th years of Lazy Days. There will be a few special releases (Compilations/Re-Issues) but I don’t want to say to much just yet. I also don’t want this year to be just about nostalgia so I’m planning a new album for the fall/winter 2020. I have a few Remixes also coming out in the meantime and new releases on Lazy Days. I also have a collaboration in the works with a singer responsible for many early house classics.

Links

Facebook

Instagram

Soundcloud