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This Sunday, Fred Everything will take the stage from start to finish, playing only tracks that he has been involved with. Far from being a simple DJ set, this is an occasion to witness the culmination of a lifetime’s work—which, with over 250 releases to his name and over 100 releases on his label Lazy Days, is quite a deep crate to pull from. Having produced, remixed, and collaborated on various genres ranging across all styles of electronic music, his improvisatory approach on the decks could take us in any direction.
Fred Everything’s lasting formula is something to be studied. Over the last three decades, his contributions to electronic music as a producer, DJ, and founder of Lazy Days Records have cemented his reputation as an artist who is not only diverse but also consistent. With a show at Mutek last summer, a Juno nomination for Electronic Album of the Year only a couple of months ago, and now a Piknic takeover, Fred Everything continues to bear the fruits of his authenticity.
Curious to know more about the mind behind this tour de force, Fred Everything kindly shared with us a piece of his story—or of history, considering his monumental body of work. Here, he talks about his preparation for Sunday’s set, his humble beginnings, his perennial approach, and his recent interest in mentorship.
PAN M 360 : You’ll be celebrating 30 years since your first release and 25 years of Lazy Days. This is a big moment—how are you feeling?
Fred Everything : Great! Going through all the music for my set, it’s definitely a bit of an introspective and emotional process. There are things that I think stood the test of time, and some things that I would do differently, but it’s all part of the journey that got me to where I am so I’m here to embrace it!
PAN M 360 : It’s quite a feat playing the whole night, but if I’m correct, this is something you’ve done regularly at Salon Daomé. What does an extended set allow you to do that you can’t normally achieve in a regular time slot?
Fred Everything : For my generation of DJs and the DJs that came before me, it’s a normal process. We got used to play from beginning to end in a venue. Welcoming people, setting up the mood, trying different things towards the night, and the best part, sending people home with something to remember.
PAN M 360 : You’ve spoken about long blends and creative mixing—do you come into a set like Piknic with a strict plan, or do you prefer to read the energy and improvise?
Fred Everything : I’ve never played a planned set ever. That goes beyond my beliefs as what a DJ does. We’re here to create a curated experience based on moments and moods. Having said that, I have a special set prepared for Sunday that includes only music I’ve been involved with. Whether it’s as an A&R for Lazy Days with different artists from the label, or my own productions, collaborations, remixes or even If it’s someone that remixed one of my songs. I do have an idea of the mood I want to set for the beginning, middle and end of my set but that also could change!
PAN M 360 : It seems electronic music has always been at the heart of your musical exploration. I read somewhere that even in the very beginning, you went out and got yourself a SH101 and TR909 to play at raves. Can you point out what drew you to this medium?
Fred Everything : I’ve been buying instruments since I was legally able to work during the summer in high school. I washed dishes to buy my first synthesizer. The 101 and 909 were purchased for my own production. They were very cheap at the time, maybe 300$ for both — I still have my original red 101 I bought 35 years ago. I was always fascinated by electronic sounds, even as a kid. Drum machines, synthesizers and vocoders would instantly get my attention when played on the radio. I think from a very young age, I always wanted to work with machines. I was also part of the first wave of raves in Quebec City, so I was able to play live with my instruments back then.
PAN M 360 : Fred Everything is known for, well, doing a little bit of everything. It’s especially impressive considering you’ve been at it professionally for over 30 years. But maybe that’s the secret… What would you say has sustained your creative curiosity over all these years?
Fred Everything : Music is like this force I have inside of me. Even when I get disillusioned, I somehow always find strength to continue. I chose it but it also chose me. One of the things that keeps me going is also to know that I still have things to express and still music to discover, old and new. It will never fully end.
PAN M 360 : Your latest release, Love, Care, Kindness and Hope, which was nominated for a JUNO award this year, came out on vinyl. You’ve always maintained a connection with physical formats. What role does vinyl still play in your creative and listening process today?
Fred Everything : As with everything I do, It also came out digitally, but It was important to have an object to hold, as a testament to this body of work. A lot of people still love vinyl. At home, I almost exclusively listen to records and I love to continue buying and playing records as much as I can. This is where I come from. I wish I could press everything I do on vinyl, but it’s a bit hard these days to make it feasible.
PAN M 360 : Aside from being a producer and DJ, I’ve noticed you’re also very active as a mentor, with a strong presence on platforms such as Puremix, Station Clip, IO Music Academy, and Echio.co. Without giving away all the sauce, what kind of advice or guidance do you find yourself giving younger artists?
Fred Everything : While I was never a good student growing up, I was always interested in sharing my knowledge. During the pandemic, I started doing it more online and I got requests for private mentoring, which I did on and off for the past few years. For the most part, I try to share a more philosophical approach to making music rather than repeating the endless technical tutorials that are already online. I’m doing a class on remixing next Wednesday, May 28th, here in Montreal at Station Clip.
PAN M 360 : You’ve spent time in cities like San Francisco and London but Montreal seems to have a lasting pull. What is it about Montreal that keeps you anchored here now?
Fred Everything : I lived in London shortly in 1999 and San Francisco for 8 years until 10 years ago. I love to travel but the best part is always to come home. I’ve had my ups and downs with this city in the past but we’ve totally made up now and I think that even with all its flaws, Montreal remains one of the best cities in the world!
PAN M 360 : Finally, Lazy Days turns 20 this year—first of all, congratulations. What are your hopes for the next chapter of the label? Are there new directions, artists, or formats you’re excited to explore?
Fred Everything : Thanks! There are a lot of things coming up that I’m excited about, like a new album I made with my old friend and music partner Atjazz. I’m also happy to keep releasing music from a lot of talented friends on the label and hopefully discover new talents on the way!
