Fred Everything has been behind the decks since 1992, back when a rave felt more like a private club than a public event, even with two thousand people in the room. He started even earlier than that though, buying his first synthesizer at fifteen, forming bands, chasing the sound of New Order as they drifted from indie rock toward dance music, and following that thread until it led him into the club scene in Canada. Three decades on, he’s built a catalogue defined by a kind of restless consistency, always pushing his sound and composition forward, always somehow ending up sounding unmistakably like himself anyway.
That instinct runs through everything he’s doing right now. There’s 8 Days, the album he’s finally made with Atjazz, born out of a friendship that goes back to 1998 and a record that took years of stems, online sessions, and one in-person visit for Fred’s 50th birthday to actually finish. There’s a first-time EP with keyboardist Teuteu, sparked by a chance encounter at a Montreal day party. And there’s a full slate of other releases still coming before the year is out, from a retrospective on 20/20 Vision to a vinyl-only Lost Tapes project pulled from tracks he’d hidden away on his hard drive.
We caught up with Fred to talk about where his sound has come from, how a nearly thirty-year friendship shapes what happens in the studio, and what he’s learned about staying in this for the long haul.
Your new album with Atjazz has been described as a friendship decades in the making, finally landing on record. For readers who don’t know the backstory, can you take us through how this collaboration came together and what made now the right moment to finally sit down and make a full album together?
Martin and I met back in 1998 at The Bomb in Nottingham through the DIY crew. I was playing that night and we were both releasing on the label, so we hit it off immediately. Over the years, that initial connection grew into a deep friendship. While we had worked on various remixes and collaborative EPs together, it wasn’t until an extended visit following the pandemic that we finally had the time and space to sit down and write a full body of work.
How did that dynamic shape the writing and production process, and did things move faster or slower than a typical studio session because of how well you already knew each other? How did you and Atjazz divide the creative work, and were there moments where your instincts clashed or lined up so naturally it surprised you?
We came up with the core ideas very quickly. We know each other so well personally and musically that we barely need to talk when we’re in the studio together; the process is almost intuitive. After those initial 8 days, I took the stems with me and worked on them on and off over the next two years, touching base with Martin during online sessions. He even visited me for my 50th birthday, which gave us a chance to finalize a few key tracks in person. So when we say the album took ‘8 Days’—which ended up being the album’s title—it was definitely a very long 8-day week!
The album also brings in a number of outside collaborators contributing vocals and instrumentation. How did you go about choosing who to bring in, and what did those additional voices add to the record?
We initially envisioned a strictly personal project with no outside features. As the music developed, though, it became clear that adding other elements would take it to the next level. We’re lucky that our combined circle includes so many brilliant musicians and vocalists. Everyone who came on board brought their own distinct color to the record while honoring the foundation we’d built.
Looking at the finished album now, how would you describe what it captures about where you are as an artist today, compared to where you were creatively when you and Atjazz first crossed paths?
I think it’s come full circle. Speaking for myself, I’ve returned to my roots a lot over the past ten years—at least in my intention. I want to make music that only I can make. I know Martin shares a similar vision, and I think we managed to do just that: create an album that could only come from the collaboration between the two of us.
Is there a particular track on the album that you’d point to as the emotional or creative centerpiece or one that stands out to you the most?
We have so many favorites—and it changes all the time!—but we both agree that ‘Language’ is a very special track. It’s actually one of the only ones on the album without any outside collaborators.
Alongside the album, you’ve also got a new EP with Teuteu landing on Winding Road Records. This is your first release together, can you tell us the story of how you two first connected and what eventually pulled you into the studio to make music together?
I first met Teuteu at a day party in Montreal (Les 3 DJs). I was hearing versions of tracks I knew that were completely different, then I realized there was a keyboard player performing. I loved how he was playing flawlessly with the DJs—you could barely notice because it sounded like a record. We met that night and reconnected a few times after. I really loved his vibe, so I invited him to my studio.
Your career stretches back over three decades, starting out in the rave and club scene in Canada before you’d even settled on the sound you’re known for today. Can you take us back to those earliest days, what pulled you into dance music in the first place, and what did those first shows behind the decks look like?
I started very young, buying my first synthesizer when I was around 15. Back then, I was really into indie and alternative music, forming a few bands with friends. New Order was my biggest influence at the time, and their shift toward dance music helped me find my way into the genre, leading me to get involved in organizing parties and playing them. I was also going out to clubs from a very early age, drawn to the new sounds of early House, Bleep, and Techno.
I was originally playing live before transitioning to DJing around 1992. Back then, it felt like being part of a private club—even when you were attending a 2,000-person rave.
How would you describe your own sound evolution, what does your production today share with your earliest records, and what has changed the most?
Good question. I think once again it comes down to intention and honesty, which is something I’ve been exploring a lot more in the past 10–15 years. I’m always trying to push my sound and composition, but I always end up sounding like myself somehow! Can’t escape it
After more than 30 years in the industry, what’s one piece of advice you’d give to a producer or DJ just starting out today, especially given how different the landscape looks now compared to when you began?
Focus on the long game. You’re not going to do your best work if you’re always chasing success, and as a result, your career won’t last very long.
With the album and EP both landing this year, what else is on the horizon for you in 2026? Any other releases, projects, or plans you’re excited about?
Yes! It has been a very busy year so far. On top of the 8 Days album, I also had a retrospective album on 20/20 Vision, a collaboration on Atjazz’s Starbase 17 album, an exclusive track for Freerange’s 30th anniversary, and a few remixes.
After the Winding Road record, I’m releasing a two-part vinyl-only Lost Tapes project on Daybreakers. These are unreleased tracks I had hidden on my hard drive. We’re also releasing new versions from 8 Days—some personal remixes as well as remixes from Karizma and Jimpster. On top of that, I have a few more remixes I did for other artists coming out in the fall.