Resonance, Alexander Arenas

RESONANCE VOL. 77 VOL.

Q&A with

todd terry

UNMASKING THE

HUMAN SIDE THE MANY SOUNDS OF

TODD EDWARDS RESONANCE 1

4

Letter from editor

TABLE OF

CONTENTS

Dive into the heart of Resonance, where the beats meet the pages. In this letter from the editor, experience the vibrant pulse of our music magazine.

2 RESONANCE

14

PRODUCTS: UNDERGROUND aLBUMS Unearth the future of sound with eight fresh underground EDM albums. Experience the evolution of sound in these brief yet bold albums that push the boundaries.

22

EDITORIAL: THE HUMAN SIDE We explore the unseen rhythms behind the DJ booth, shedding light on the mental health challenges faced by EDM producers and DJs.

38

PRODUCTS: TECH AND GADGETS Unveiling the cutting-edge world of EDM tech and gadgets, this product article showcases the latest innovations that are revolutionizing the electronic music scene.

6

FEATURE: TODD EDWARDS Embark on a captivating journey through the musical realm with a feature story on Todd Edwards, the legendary producer and pioneer of UK garage.

18

Q&A: TODD TERRY Join an insightful Q&A session with renowned music producer Todd Terry as he shares his expertise and experiences in the dynamic world of music production.

30

FEATURE: SHINICHIRO YOKOTA Japanese house pioneer Shinichiro Yokota speaks about Tokyo DJ battles, returning to music-making, and why less is more.

40

EDITORIAL: LEGACY OF DAFT PUNK Exploring the enduring influence of Daft Punk, this feature article delves into the iconic duo’s musical innovation and cultural impact.

RESONANCE 3

LETTER FROM THE

EDITOR Dear Resonance Readers,

As we embark on this thrilling journey through the pulsating world of electronic dance music, it gives me immense pleasure to welcome you to the latest edition of Resonance. This magazine has always been a sanctuary for those who live and breathe the electronic soundscapes, and I’m excited to share some thoughts and insights on our ever-evolving musical landscape.

Photograph by Brett Sayles

In this issue, we’ve delved deep into the diverse realms of EDM, and our team of writers and contributors has worked tirelessly to bring you the latest stories, trends, and artist spotlights. Whether you’re a seasoned festival-goer or someone who’s just starting to explore the world of EDM, you’ll find something that resonates with your passion for electronic music.

This issue is a tribute to the artists, the DJs, the producers, and the fans who continue to shape the EDM universe. We’ll take you on a journey through the underground, explore the technology that drives the beats, and introduce you to the pioneers who’ve paved the way for this powerful genre. Expect in-depth interviews with EDM’s finest, behind-the-scenes glimpses into music production, and reviews of the latest tracks and albums.

As we celebrate the fusion of music and technology, we also want to recognize the role that electronic dance music has played in fostering unity and connection among individuals around the world. It’s a genre that knows no borders, and its reach continues to expand, transcending language and cultural barriers.

At Resonance, we’re committed to being your trusted source for all things EDM. We aim to capture the essence of this global community, its vibrancy, and its impact on culture and society. So, as you flip through the pages of this magazine, we encourage you to embrace the eclectic beats, the mesmerizing visuals, and the electric vibes that define this vibrant scene.

Thank you for your continued support, and I invite you to join us in this exploration of electronic dance music. May this issue resonate with you and ignite your passion for the sonic world we so passionately celebrate.

Stay tuned for the future of sound, and let the resonance guide your soul.

With beats and love,

Brandon Weiss 4 RESONANCE

Brandon Weiss

CREATIVE DIRETCOR Kenneth Sommerton EXECUTIVE EDITOR Jennifer Werner DEPUTY EDITOR Samantha Porter SENIOR EDITOR Steven Frutinger

CONTRIBUTING BOOKINGS EDITORS James Chiang Jeff Foster Somatype Company, Inc. SENIOR COPY EDITOR Malcolm Alpin SPANISH EDITOR/TRANSLATOR David Mejia

DIGITAL PREPRESS GROUP Simon Woo Edwin Benton DIRECTOR OF PROJECT MANAGEMENT Elise Chan

MBW’s Stats Of The Weeks is a series in which we highlight a single data point that deserves the attention of the global music industry. Today, we’re looking at music streaming services and their subscribers with data from Midia Research.

616.2 million streaming subscribers globally million people who subscribe to Apple Music

13.8%

of the global share of music from Spotify

523

million paid YouTube Music and Premium subscribers worldwide

CIRCULATION ASSISTANT Scott Calhoun CHIEF MARKETING OFFICER Stephen Zachery DIRECTOR OF MARKETING Benjamin Becker

MUSIC SUBSCRIBERS BY

30.5%

of the global share of music from Spotify

42.1

total net music subscriber additions in the first six months of 2022

million users of paid subscriptions

DIRECTOR OF CIRCULATION Thomas Cellier CIRCULATION MANAGER John Robichaux

million people who subscribe to Spotify

STREAMING SERVICE

million current subscribers of Amazon Music

11.7

82.2

ART DIRECTORS William Tanaka Elise Hansford

PRESENTED BY MBW

84.7

CONTRIBUTING EDITOR Adrian Jimena

WEEK 187.8

EDITOR IN CHIEF

80.0

RESONANCE

STAT OF THE

million additions in the first six months

Spotify (30.5%) Apple Music (13.7%) Tencent Music (13.4%) Amazon Music (13.3%) YouTube Music (8.9%) NetEase (6.1%) Yandex (2.2%) Deezer (1.5%) Other (10.2%)

Source: MIDiA Research Music Subscriber Market Share Model RESONANCE 5

THE MANY

SOUNDS OF

TODD EDWARDS

His telltale production style, sample-heavy and delightfully swung, is a crucial element of US house, UK garage, and early dubstep.

By Gabriel Szatan

6 RESONANCE

RESONANCE 7

Photo by Christopher Jenson

FEATURE In every genre there’s a resident “nice guy”, but it’s doubtful that those people come nicer than Todd Edwards.

Todd has been an effervescent presence in dance music for nearly 30 years. As if it wasn’t good enough being one of the foundational ‘Teachers’ listed by Daft Punk on their 1997 album ‘Homework’, Todd went on to become a close friend and serial collaborator of the Robots, too. But you don’t have to take their word for it. Earlier this year, Todd’s celebrated back catalog was rescued from limbo and uploaded to streaming services for the very first time. Todd, everyone agrees, is deserving of his flowers. And now he’s getting them all over again.

He is an endearingly hyperactive conversationalist who breathlessly sounds off on topics like fear-driven cable news or pre-chorus chord progressions for 20 minutes at a

“ Rich got me on the house tip by introducing

elements at exactly the right time.”

time, while simultaneously offering concessions to the alternative viewpoint.

Every monologue is peppered with a cut-up chorus of Todds, all gabbing away at each other. “It’s so cathartic to be able to share my thoughts with you in a non-grumpy way,” he grins. “I try to keep the grump inside the apartment.”

Any protective guard is swiftly broken once we mention the rabbit playing a starring role in Tonje Thilesen’s photography, sending Todd into a fit of giggles.

A humble beginning Todd Edward Imperatrice was born in 1972. The product of a sprawling Italian family from New Jersey, Todd found his Christian faith as a teenager. It’s unlikely the strong-willed conservatives within the patriarchal dynamic would have allowed him to deviate from this path anyway.

While developing a taste for electronic music as a young man, Todd’s proximity to the city of Newark meant the influence of Tony Humphries’ thumping sets at Club Zanzibar was never far, although at this point, Todd was too meek to become a clubber in earnest.

The spark to start producing was provided by a friend, ‘Filthy’ Rich Crisco,

who later laid down one of garage’s alltime great anthems, ‘I Refuse (What You Want)’, as part of short-lived trio Somore.

“Rich got me on the house tip by introducing elements at exactly the right time,” Todd recalls. “He was the first to play me Frankie Bones and Todd Terry, then Basement Jaxx later on. I’ll concede that I could stand to do more listening to what’s out there, but I really don’t need a lot of influence. My guiding instinct was to not stumble over lots of styles, but come up with a signature. When you hear a Masters At Work record, or a Todd Terry cut, or something by MK, it’s clearly them,” he continues. “I set out to make a sound for myself, so that when you drop a Todd Edwards record you know it’s by Todd Edwards.”

This premonition came to pass in unexpected ways. By 1995, Todd was pumping out records that were by turns soulful and skippy, tactile and robust.

The Sunday afternoon UK garage scene was underway in South London boozers, as DJs like Grant Nelson, Matt ‘Jam’ Lamont and Dominic Spreadlove would use pitched-up records from both Todds to hold court with the junglists, who flooded in after Saturday all-nighters at neighboring Ministry of Sound.

Todd waves from his Los Angeles home. He moved to Los Agneles in order to work on the production Daft Punk’s Random Access Memories in 2013.

8 RESONANCE

Up until the 2010s, Todd would say yes to more or less every offer, resulting in a strikingly varied body of work. He’s surely the only producer to remix both TLC, LOL Boys, Spank Rock, Robin S, Klaxons, and Kristine Blond. The effects of Todd’s prodigious early run continue to ricochet in intriguing ways.

Photo by Tonje Thilesen

A rapidly growing popularity

Photo by John Calhoun

Todd Edwards’ music has a rare transatlantic appeal — rough enough to captivate diamond geezers in Elephant & Castle, but reverent enough to warm the cups of New Yorkers’ lollipop headphones. ‘Saved My Life’, released on seminal label FFRR in 1996, could charm expressive dancers at NYC house love-in Body & Soul, as well as those who would be bussing gun fingers to DJ Bigga G’s ‘Mind, Body & Soul’ down the line. Garage soon begat speed garage, with Todd’s remix of Sound Of One’s ‘As I Am’ a cornerstone of the spin-off sound. Before long, another strain had developed, as the chipped vocals and thick lashings of organ in Todd’s music helped propel 4x4 and bassline in the North.

Todd during a gig at a frestival. Since his first DJ gig in the UK in 2003, Todd has consistently stopped by the UK while on worldwide tours.

spectrum, you have your autistic spectrum, and I think music has a spectrum, too. On one side is that tribal, instinctual, adrenalised energy of hard EDM and thrash metal. And then you have the cerebral, spiritual side. I find myself somewhere in the middle.

“ I learned so much that

If there’s one moment of telepathic audience communication almost every Todd devotee can picture with their eyes closed, it’s this: simply utter the words ‘Jesus Loves UK Garage’, and a rippling harp ushers in the dream sequence.

The material gains of being hard-coded in the DNA of a generational sound are less impressive than you’d think, Todd says. “Over time, I’ve come to understand that people singing my praises doesn’t always translate into prosperity. If you’re not in the epicenter of what’s going on, you can actually miss your own impact entirely.”

It’s New Year’s Day 2003. On the fringes of East London, history is being made.

A full decade into his career, Todd Edwards is stepping up for his first club DJ set. The venue is Romford’s Time & Envy, the night is DJ EZ’s 4by4, and the jet-lagged Jersey boy is sweating with anticipation in a homemade black T-shirt proclaiming Christ’s affection for UKG.

Todd’s enduring presence in each wave of house and garage means he is in a state of constant reintroduction, straddling an age-gap that only continues to widen. Appealing to young listeners while sticking to a winning formula is admittedly a challenge, sighs Todd.

Everything was thankfully captured on camera and is constantly regurgitated by various music platforms on social media.

It never fails to smash big numbers, a readymade honeypot of engagement.

What goes through Todd’s mind when he watches the video back? “Seriously, that gig was special and the reaction makes me smile every time. I didn’t go on the internet in those days, so all I had to go off was one in-store appearance at [London venue] City Sounds in 2001, but it was only about 100 people, so I still

“I’m trying to approach making music with a little bit of a scientific strategy these days. There are different spectrums: you have your sexual

night: the interaction between the DJ and the crowd was like nothing I’d experienced in New York.” didn’t have a quantifiable measure of success. Romford was crazy.”

“They cheered every song, including that preposterous intro, which was intended to show the crowd how my samples worked. I learned so much that night: the interaction between the DJ and the crowd was like nothing I’d experienced in New York. The MC was saying things and the crowd chanting back — as an American, it just sounded like a pep rally.”

During his set, this innocence resulted in one amusing misunderstanding. As the crowd demands a rewind, Todd flashes a confused glance back to the MC. Unsure what was being requested, he whiffs at the chance of a thunderous reload, instead merely hitting the stop button and watching the turntable power down.

He grimaces at the mention. “Tuff Jam always joke about that.”

A new rebirth Todd’s spiral to rock bottom makes for tough reading. At his worst, he was seriously considering suicide, seeing repeated visions of driving his car off a bridge while on the way to work.

RESONANCE 9

Photograph by Otis Roberts Edwards creating new music in a studio in the UK, which he considers a “third home” after New Jersey and Los Angeles.

A time of troubles “My 20s sucked. I don’t remember much of the good times because my memory is clouded by depressive moodswings. I was a workaholic, avoiding personal issues in my life by pushing until I burned out. I wanted to quit every five minutes, but then would get terrified that I wasn’t moving through the levels of my career fast enough.”

When Todd’s momentum came to a skidding halt shortly after turning 30, all that internalized pressure exploded.

“I had an existential crisis and turned to God, asking: ‘Why am I here? What do you want from me?’ I just couldn’t find happiness.”

10 RESONANCE

“My My 20s sucked.

I don’t remember much of the good times because my memory is clouded by depressive mood-swings…”

Todd puts a great deal of his entrapment at the time down to mismanagement.

He was told to keep his emotions buttoned when speaking to the press and suspects he was kept away from connecting with fans on the internet as a power play. A toxic cat-and-mouse game dragged on for most of the 2000s. “My first manager was a very negative reinforcement type of guy,” Todd states with barely-concealed anger bubbling to the surface. “For years, every time I released a new record, he would re-release one of my tracks. It was pure spite.”

Todd reached out to DJ EZ and Daft Punk’s then-manager, Pedro Winter, for help — not a bad support network to have. They were shocked that Todd owned none of his master recordings, and urged him to bite the bullet and buy back his catalog as a point of priority.

“It’s easy to see the manipulation now,” Todd says, “but I didn’t converse with people outside my bubble. I was too weak and scared to leave this situation.

I was very loyal, a team player. And the

thing that really sucked is that, up until this point, I never had a team rooting for me.”

Bookings returned as the 2010s dawned, relished by Todd with typically wholesome fervor. “I was so grateful for getting work again that I started to make tracks with the names of parties I was playing. I did a show in San Francisco called ICEE HOT, so I made a jingle of me saying the name. That’s where ‘I Want To Be In Fabric’ came from too.

Let’s face it: England is my biggest audience. The least I could do was say thanks for paying my bills.

“I’m glad now I went through the struggle,” he continues, perking up. “It broke me, but it also broke the links to bad influences in my life. Without that miserable return to Jersey, I never would have had the confidence to move to Los Angeles.” When Todd arrived in the place he now calls home, he realized it wasn’t just a shitty manager causing him grief. He had labored under the assumption that an ascetic lifestyle was

Photograph by Chsitopher Mittterns

“I’m going to talk about this candidly, in case it’s helpful for someone out there to understand what it feels like to go through all that jealousy, anger and insecurity,” he begins. “I had no coping mechanisms for my depression back then; mental health wasn’t a topic in the industry. No-one talks about what it takes to generate a second wave of success once the first has gone. You can even be Kanye West, and when you lose your throne for a moment you just can’t handle it. On a smaller level, I’m still tormented by streaming numbers. They go down and I wonder: ‘Am I bad now?

Is this it? Do I make bad art?’

the appropriate one, bound in fear of what might happen if he began expanding his horizons. Suddenly, there was no need for anguish anymore. He learned to enjoy a good time.

A new sound and vision 2021-edition Todd is evidently in better mental and physical shape than before.

He’s been enthused by the reception to springtime single ‘The Chant’ – the “15 to 20” new tracks he has ready to go – and is revving himself up to become a born-again DJ. Todd’s roar back to prominence is in no small part down to his recent deal with dance music juggernaut Defected.

With nearly 150 Todd classics issued to streaming, a separate career-spanning ‘House Masters’ compilation, an official release of that iconic Jesus Loves UK Garage shirt, and with more singles on the way, some have quibbled about Defected’s acquisition of brand Todd.

As much as he’s excited for the future, Todd can also seem deeply fixated on the past — perhaps even tortured by it. The tendency towards Catholic self-flagellation maintains. ‘Odyssey’ is the first ghost Todd is hoping to excise.

The second, paradoxically, came after

one of the greatest nights of his life.

He brings it up surprisingly frequently on radio and in podcasts, and does so to us too, completely unforced.

Positives and negatives forever jostle in Todd’s mind, like an angel on one shoulder and a devil on the other. He still needs validation.. But this is what makes him a relatable and emotionally resonant figure in an industry that too often prioritizes mechanically soldiering on as a virtue. Rather than trying to gloss over an unsatisfactory narrative, learning to value life’s imperfections has given Todd Edwards enduring appeal beyond most.

“I know what it’s like to have bottomed out,” Todd wraps up after a conversation that has breezily rolled on for an entire evening. “But then, I’ve been rescued, and that’s something to be thankful for. I’m just some guy from Jersey, yet I’ve been treated like royalty. Some things I’ve done at different points in time have branched out and reached millions of people. You want to make a difference when you’re on this earth — if I retired tomorrow, could I say that I had an impact?”

Todd answers this with a smile. It seems he has learned to rewind after all.

A history of

Todd Edwards's

releases Prima Edizione (1999) Prima Edizione is a UK garage masterpiece that effortlessly blends soulful vocals with infectious beats, delivering a timeless musical journey.

Full On Volume 1 (2000) Full On Volume 1 is a UK garage gem that showcases his signature production skills, fusing rhythmic grooves and captivating melodies into an irresistible collection.

Full On Volume 2 (2003) Full On Volume 2 is a thrilling continuation of his UK garage mastery, offering a dynamic blend of infectious rhythms and soulful vibes that keep the genre alive and kicking.

With many years under his belt, Todd Edwards keeps the rhythm alive by experimenting with new styles and creating more music.

Oddysey (2006)

Odyssey takes listeners on a mesmerizing UK garage journey, skillfully weaving intricate rhythms and ethereal vocals into a sonic adventure.

Full On Volume 3 (2007) Full On Volume 3 is a triumphant conclusion to his UK garage series, delivering a fresh and captivating fusion of beats and melodies that showcases his enduring musical and compositional prowess.

RESONANCE 11

NIGHT TEMPO 12 RESONANCE

NEW SINGLE

NEO STANDARD

RELEASING ON VINYL, CD, AND CASSETTE

SEPTEMBER 23 nighttempo.com RESONANCE 13

PRODUCTS

UNDERGOUND LISTENS

Many songs and albums are released each year, especially with the advent of the “home producer”, creating songs with a simple home settup and a laptop. Many of them are underground a most only have a small. While we could doa list of new, popular albums, we’ve decided to showcase some of those uderground albums. Here are some new, underground releases that we think you should definitely listen to.

BLISS IN THE MIDST OF UNCERTAIN TIDES GOJII After returning from their voyage in the sea, rising artist GOJII shares the epic tales of their new album, Bliss in the Midst of Uncertain Tides, released on September 1st through Aural Alliance. They unleash an album that encapsulates whimsical feelings that bring joy through rough times. With their delicate melodies and production, GOJII creates a safe space for escapism. “Dedicated to finding what makes you happy in the face of anxious uncertainty. The worlds I created in this LP helped me escape everything if just for a bit,” he said in the description on his Bandcamp page, “I dedicate it to my found family who have continued to support me during these unprecendeted and downright horrifically difficult times in my life.” The album’s etheral soundscapes create a sense of tranquillity admist chaos.Gojii’s masterfull production is a dfinite must-listen for anyone searching for solace in music.

REMIXHOLICS ANONYMOUS Discoholics Anonymous Discoholics Anonymous’s self-titled second album Discoholics Anonymous is a testament to how disco has survived, proving why disco was reborn in the new age. Now, those tracks are given a new light with Remixholics Anonymous, with features a plethora of electornic producers remixing the tracks. If Discoholics Anonymous raised the bar and served up more fun, more meaningful, and all-around more impressive music, Remixholics Anonymous starts off Happy Hour with an all-new exotic menu that’ll really get this party started.

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BLOOMING LOVE DELUXE Party Night 天の川 The biggest project they’ve done, Party Night 天の川 has released a new deluxe version of their previous album Blooming Love, featuring a new cover and five new songs including two remixes by other fellow future funk producers.

The album reminds you to never stop partying with fast-paced dancable beats. “I’m glad to see it completed, I’m glad about everything,” he wrote in the description, “Thank you so much for being there! The fact that there’s people who like what I do gives me hope and makes me want to work more and more.”

CYANOTYPE CyanBlue The second album by CyanBlue, Cyanotype makes you immerse yourself in a world of pulsating beats and vibrant rhythms. A tryumphant return, CyanBlue invites you to dive headfirst into a musical experience bound to elevate your spirits on its very first listen. Cyanotype is a dazzling voyage into the future of funk, courtesy of the enigmatic producer CyanBlue. Released in the summer of 2023, this album is a pulsating blend of vintage funk, modern electronic influences, and an irresistible groove that’s impossible to resist. It’s an album that effortlessly bridges the gap between the past and the future, drawing inspiration from funk legends while pushing the boundaries of electronic music.

BUTTER Hot Singles Butter by Hot Singles is intentionally astray from many people view future funk, crafting its own image and sound instead of relying on the anime tropes. “Look at any album, artist or repost channel and you’ll see countless looped gifs of anime girls and pink and blue color schemes,” he says, “I can appreciate that aesthetic, but since it doesn’t really fit with who I am, It doesn’t feel right to attach that brand to the music that I make.” Going back to the core of future funk, rooted in the sampling styles of frrench house, Butter leans into a new “homemade” style that embraces its imperfections in sampling and making songs that are grounded in reality.

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NONPLUSULTRA Android52 His first release in a year, Android52 has returned with his album Nonplusultra, a captivating electronic journey. With its ethereal melodies, intricate rhythms, and a perfect balance of introspection and energy, it’s a testament to Android52’s growth as an artist, with every single album having a jump in quality. In the works since June 2021, it’s a sonic journey well worth taking for both fans and newcomers. Android52’s diverse sonic palette shines through, and his ability to craft moods and emotions is evident throughout Nonplusultra.

Whether you’re a dedicated fan or new to Android52’s work, this album is a must-listen. It’s a captivating sonic adventure that leaves you eager to hear more from this talented artist.

LOVE BarbWalters Love by BarbWalters is a delightful journey into the world of future funk. This album encapsulates the essence of the genre, delivering groovy beats, funky basslines, and a sense of nostalgia that makes you want to dance. With its clever sampling and a playful blend of old and new, Love is a vibrant and uplifting experience that captures the spirit of funk and electronic music. In describing the album, BarbWalters stated that he “wanted this album to blur the lines of what is future funk and what is french house in 2023.” It’s a celebration of love and music that’s sure to get your feet moving.

GROOVEESCAL8 Q-Rabbit Q-Rabbit’s Grooveescal8 is a pulsating journey through electronic realms that’s bound to leave listeners hooked.

The album masterfully blends groovy beats with eclectic soundscapes, creating an infectious energy that’s hard to resist. It’s a fusion of groovy beats and escalations that keep listeners hooked from start to finish. Q-Rabbit showcases a deft touch in blending various electronic elements, creating a seamless flow that is both energizing and captivating.

Each track feels like a well-crafted piece of a larger sonic puzzle, making Grooveescal8 a compelling experience for future bass and electronic music fans.

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MAKE YOU SAY TOUR December 27 Vancouver, British Columbia December 28 Edmonton, Alberta December 29 Chicago, Illinois December 30 Las Vegas, Nevada December 31 Minneapolis, Minnesota

order tickets now at zedd.net

November 10–11 Silver Club Burbank 223 W. Palm Avenue

futureeden.webflow.io RESONANCE 17

questions with

TODD TERRY

Q&A

The New York house pioneer talks about living up to his legendary status and why major labels “put out the worst dance records ever.”

By Katie Bain 18 RESONANCE

Photo by Edwin Ballard

While house music was already popping when Todd Terry entered the scene in the late ’80s, the New York producer grabbed hold of the sound and evolved it—mixing house with breaks and hiphop and forging an altogether grittier strain that became his signature.

This sound scored Terry a pair of Number 1’s on Billboard Dance Club Songs in the late ’90s while making him a fixture in New York clubland and points well beyond it. He, like many house producers of the day, found a particularly warm welcome in London, which in the ’90s joyfully embraced

Where are you in the world right now, and what’s the setting like?

I’m in Estonia now and kinda snowed in at the moment, but it’s all good, nice place here to eat and chill. Then I’m off to London next, then back to New York to see family and play a gig at the Silo club in Brooklyn.

What is the first album or piece of music you bought for yourself, and what was the medium?

The first record I bought was James Brown‘s “Hot Butter Popcorn.” I couldn’t wait to bring it home and play it. The record player was in my sister’s room, so I had to wait till she left; it felt like it was forever, but it was fun to play it and dance around.

What did your parents do for a living when you were a kid, and what do or did they think of what you do for a living now?

the genre that would take much of the States longer to figure out.

He’s been a constant on the scene since, dropping a steady drip of tracks, albums, compilations and remixes for the past 35 years — dropping 1,000 original productions and 1,600 remixes in total, many of them through his own InHouse Records, Freeze Records and Terminator Records.

Here, Terry talks about his affection for the U.K. scene, “sometimes” selling out and how the scene has “come back to being real house music.”

The first thing I brought was a car. A car is always the best way to listen to your music besides the club, of course! I did finally get some Cerwin Vega speakers as well with my first check.

If you had to recommend one album for someone looking to get into dance/electronic music, what would you give them?

Kraftwerk was my favorite LP. I learned so much from that album — how to arrange and how to make different sounds to make people notice your music, and that you do not have to be a great singer to make a cool song.

The word “legend” is associated with your name.

When do you feel most legendary?

I feel as though I have to live up to that name as strongly as possible. The word “legend” means a lot to me, to keep going no matter what. I love the respect, so I have to give it my all to live up to it.

My Mom would say, “Turn that music down.” I was like, “No, Ma, this is what’s gonna get us out of here.” My Mom didn’t realize that the record business was the way to go at the time. I wanted to do music for the love and for the business.

When you were helping develop the sound of house music in New York, did you have a sense of how massive the genre would become?

What’s the first non-gear thing you bought for yourself when you started making money as an artist?

I got the sound of house music from Chicago. I sampled Chicago to create my style. I didn’t really know what I was doing; I just wanted to sound like them. Later I learned that I had sampled Marshall Jefferson, Kevin Saunderson, RESONANCE 19

Photo by E. J. C. Kewen

With legendary beats and timeless grooves, Todd Terry is the mastermind behind the music that moves your soul.

“ Zomba held me back at the

beginning of my career.

You gotta watch these people putting money in your face and not caring about you and your music.”

Tyree Cooper and Adonis. I didn’t know anything about this style, and I was learning it as I went. To find out that it was blowing up in London really opened my eyes to do more. Then it was everywhere in the world. Wow.

With house music now a global phenomenon and commercial force, what’s your take on the current scene?

It’s good that it came back to being real house music. I think EDM took us away from its soul on the dancefloor, but I still think we need more songs that represent the old-school feeling that got us here, like Ten City’s “That’s The Way Love Is,” Crystal Waters‘ “Gypsy Woman” and Lil Louis’ “Club Lonely,” these type songs are just the icing.

What’s the best city in the world for dance music currently?

London is the best city for me. The crowd always seems open to new sounds and funky music as well. I always have to break my new music on the dancefloor there. People dancing is the power to keep you going, and they definitely gave me the power to keep going in my career. House music forever is what we need in life.

20 RESONANCE

Are there rising artists that you’re finding particularly exciting right now?

Computers! I think we are less creative because of them. We gotta bring our souls back to the table!

Janika Tenn, Majestic, DJ Kash. These emerging DJ/producer/artists are coming up with new styles for house music, dance and Afrobeats. They are the reason why I keep going. Sometimes you need a new vibe to inspire you to take a different look at things.

The proudest moment of your career thus far?

The most exciting thing happening in dance music currently is _____?

That the feel of the dancefloor is back.

People are having a good time and not just standing around waiting for a drum roll to get hyped. We need to keep it feeling good.

The most annoying thing happening in dance music currently is _____?

That the major labels put out the worst dance records ever. I find myself selling out to them as well. I’m trying to stop taking the money to please them and please myself instead.

The biggest difference between making music in the ’80s and making music now is ____?

That I don’t need to shop my music to other labels. I can do what I want and put out my music myself and [the music of] some other people I like on my own record labels.

What’s the best business decision you’ve ever made?

Getting rid of Zomba as my music publisher. They held me back at the beginning of my career. You gotta watch these people putting money in your face and not caring about you and your music.

One piece of advice you’d give to your younger self?

To take my time. It’s not always good to rush, especially when it comes to the business side. I could have made a bunch more money if I got that right, but there is still time to make the money back. All those bastards that robbed me are dead, ha!

live at slowpalace saturday, oct. 14 454 sixth ave, san diego, ca

novasd.com/madeon RESONANCE 21

EDITORIAL

UNMASKING THE

Human Side In dance music, it is easy to idolize artists.

However, when the pandemic hit, we were exposed to a different side of them.

By Brandon Weiss

In psychology, there’s this phenomenon called the “celebrity worshiping syndrome“. The idea is people become obsessed with celebrities and begin to idolize them beyond a human level.

People mimic their piercings and tattoos, fantasize about befriending them, and even get hooked on trivial gossip. It sounds crazy when it’s put on paper, but don’t we all do it to some extent?

In dance music, it is easy to idolize artists. How could we not? We spend hours memorizing the lyrics to their songs and hundreds of dollars on tickets to see them play. Our community links them to the very events that are the source of our best memories and praise them for creating the music that makes these events happen. We even follow them on social media, just to try and 22 RESONANCE

learn little pieces of their personality.

With this kind of mindset, it only makes sense that we keep DJs on a pedestal.

help struggling artists. In the series, Carl Cox opens up about his battle with his mental health during the pandemic.

Exposing the different side

In the interview, he talks about what isolation has done to his personal and professional life. During the pandemic, Carl Cox lost his father. Due to the restrictions of quarantine, he had to attend the service virtually. There is no amount of fame or money that could ever make that situation bearable.

Additionally, he was dealing with the possible end to the career he had spent a lifetime building. Artists make a majority of their money off of touring, and because there is no telling when that will be back, many are struggling to stay financially stable.

However, when the pandemic hit, we were exposed to a different side of the artists. They are just as human as us, and therefore, they each have their own struggles. Many artists have come forward about the keyboard warriors that regularly bully them on the internet, but it runs much deeper. During this time, many artists are at risk of losing their livelihood. The effort they have put into perfecting their craft for years is at risk.

A campaign series, Music on my Mind, discusses mental health within the dance music community. It shows a transparent view of the effects of the spotlight on music producers and raises money to

“[I’ve spent] 40 years of working really hard as a self-employed DJ. I’ve been

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Artworks by Alejandro Rodriguez

around the world like you can’t believe and I’ve made millions of people happy,” Cox said, “Since then, my [parents have] died… I’m in Australia and now I don’t have a job as a DJ… which is my craft and what I’ve set up for. And now, in the UK, they’re telling us to go get another job because ‘your industry is not coming back.’ Now you’re asking me how I am. I’m fine, but I’m not happy.”

As tragic as it is, we know that there are quite a few of us that can relate to this.

While we may not be losing a residency in Las Vegas, the pandemic has taken away many people’s careers and lifelong dreams. And, even if you’re family is healthy, we can all imagine the pain of losing a loved one in this way. With the success that Carl Cox has had in his career, it’s hard to picture him worried about the future. It’s important to remember that everyone is fighting their own battle, even if they seem larger than life.

Worst-case scenarios That being said, it’s even harder to picture the worst-case scenario.

However, with the death of i_o, we had to. Garett Lockhart (i_o) was only 30 years old when he passed. When someone dies so young, it usually means that there is something else going on.

In his case, there might have been. We just don’t know. However, we all feel entitled to know. His personal life, and all struggles involved, were generally hidden from us. However, people didn’t think to care until it all came to a head.

Which is reflective of what it means to be in the limelight.

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In 2018, Avicii, the posterboy for EDM, committed suicide. Pressure from fans to tour were cited as key reasons for his suicide.

Celebrities are expected to uphold a certain image. When famous people come forward about their personal struggles, they are quick to be discredited. It is hard for the general public to process that money and fame do not equate to happiness, but it doesn’t. This idea has become increasingly clearer with quarantine. We assume that DJs are living these lavish lives when they are at home, but that isn’t always the case.

While the pandemic opened a lot of our eyes, the issue was here long before 2020. In 2016, a study showed that 69% of musicians have experienced depression at some point in their career.

This is especially relevant in the dance music industry, where many sleepless nights and long tours are expected.

One of the most devastating examples of this is when the dance music community and the EDM community lost producer Avicii to suicide.

Losses and a shift In the Netflix documentary, Avicii: True Stories, the darker side of the EDM giant’s story was shared. Through accounts from Avicii, his family, and his friends, we found out that Avicii was never comfortable in the spotlight.

He had social anxiety, which was only amplified by the massive tours he was doing. He heavily abused alcohol and pills to cope with the pace of his lifestyle and the physical and mental stress finally became too much to handle.

Even though he resigned from touring in 2016, he still felt the pain of the pressure of the industry.

Once Avicii stopped touring, the people close to him saw a shift in him. Avicii was getting better. He had given up on one of the biggest financial assets of his career, but he was finally able to focus on his music and mental health again.

He was healthier, happier, and doing what he loved. However, we know that this wasn’t the case. On April 20th, 2018 Avicii chose to end his time in this world.

While it was shocking to many, Avicii did try and ask for help. We can hear it in his lyrics, in songs like SOS. Many DJs use their art as a form of self-expression, and we just forgot to listen.

People tend to turn a blind eye to the real emotions of people in the spotlight. Avicii was one of the most popular, wealthy, and successful DJs in history, but that doesn’t mean that he was exempt from pain. Even though he seemed fine on the outside, it doesn’t mean that he was. Each person, regardless of their stature, has dark moments. We put Avicii on a pedestal and stopped viewing him as a human even though he never stopped being one. We can’t change what is in the past, but we do still have a choice in the future.

A number of EDM artists and DJs have experienced burnout, and have quit touring.

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The lifestyle of a professional DJ can lead to many mental health problems, from a lack of sleep to anxiety and depression.

Need for support Whereas bands might have fellow band members to rely on for emotional support while on tour, it can often be a lonely one for DJs and producers, whose shows are often solo, with a crew supporting them. This is something that EDM superstar Martin Garrix mentioned in an interview earlier this month, when speaking to Dutch publication Het Parool. Speaking about the aftermath of Avicii’s passing, Garrix discussed the toll touring can take.

“Of course the load is not only physical but also mental. It is a bizarre life: one moment you are in front of a hundred thousand cheering people, the other you are in bed on your own. That does something to you. Fortunately, I have a great team. Nowadays my family comes more often and there are almost always childhood friends with me.” EDM artists are increasingly counteracting the isolation they can experience on tour by bringing along friends and family, which means they’ve always got familiar faces surrounding them, even when in the most unfamiliar of locations.

Especially since the growth of social media, there has been an intense rise in cyberbullying, specifically to famous people. People feel liberated to be cruel when they can hide behind a screen.

That’s not ok. That will never be ok.

Even though it seems like someone with millions of followers will never see a comment, they still do. It must be incredibly stressful to be an artist.

Constantly in the limelight, people

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always critiquing your body, and fans criticizing your art.

Getter is a DJ that knows this all too well. In 2019, he decided to pivot his style and enter a new genre. He was no longer invested in the music he had been creating. So, he refound his passion and began creating art that fulfilled him again. He decided to show his new style to the world with his Visceral album followed by a matching tour. However, the tour was cut short when he was booed off the stage in Houston. After the event, Getter took to social media announcing that this would be his last tour.

Although he had heavily publicized his new style, fans still expected the old Getter at the show. He was verbally attacked in person and on social media.

The art that he had been so proud of was publicly ridiculed and his tour was canceled. Since then, he has come back into the festival scene with both music and touring. On behalf of DJs like Getter, do your research. Don’t show up to a show promoting an album you don’t like and definitely don’t complain if you didn’t do your research.

Inescapable lifestyles The EDM scene, arguably more so than other music genres, is driven by partying, which goes hand-in-hand with substances. This substance-fuelled lifestyle can wreak havoc on people’s sleep schedules, which can affect people’s mental health. This lifestyle

Sometimes, the best option for a DJ is to stop and recouperate their energy.

is often inescapable, as much like any industry, networking is important.

EDM artists starting out don’t want to rock the boat, and then this lifestyle of consuming substances can become normal and ingrained in the touring culture for said artists, leading to consequences down the track, even if they are unaware of it. After all, if you’re sleeping irregular hours, consuming substances on a regular basis, and keeping your body running on fumes rather than regularly checking in with yourself, then you won’t be in peak condition.

Speaking to The Guardian back in 2016, producer Steve Aoki referenced just how hard it is for EDM musicians to get some sleep, especially given some of their

tour schedules - with EDM shows often going late, and being comparatively easier to transport from city to city, leading to more stacked schedules, this takes a toll on the people involved.”

Recognition and change EDM artists are also no longer pushing themselves past their limits, but rather, they are recognising when they need to rest and recuperate. This was demonstrated during this year’s Listen Out festival run, with US producer Whethan returning to the US in order to recover, rather than continue the tour in a mental state that wasn’t healthy.

We aren’t bringing all of this up to make you feel bad or to turn DJs into martyrs.

Instead, we simply hope to provide

some perspective on the human side of the music industry. Behind all of the lasers and pyrotechnics, there are real people up on that stage. And, as real people, they feel both the good and bad sides of life.

So, if you’re looking for a sign, this is it.

We are in such an unsettling time and we need each other more now than ever. Reach out to your friends, even if they seem like they are fine. Be there for people, even if they have never needed you before. Ask your friends the hard questions, even if they seem untouchable from the world. Treat these producers with the respect they deserve.

The dance music community is all about love and kindness, so we know you already have it in you.

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