California may take some getting used to for Fred Everything.

Okay, that’s a bit of an overstatement. But as a busy producer/DJ who first made a name for himself in Montreal’s house scene, Fred Everything needs to be available for phone interviews – especially those about his new album, Lost Together – at the drop of a hat: at home, in the airport, or backstage at a live gig; but not in a car, at least, not anymore.

“Sorry, I had to pull over,” says Fred. He’s recently transplanted from our northern neighbor to San Francisco, headquarters of OM Records: the label that released Fred’s latest and has been vitally influential in shaping the overall deep house movement. While Californians are often regarded as laid-back bohemian types, the kind that would naturally birth an electronic genre of chill, pounding grooves, the State has a pretty firm stance on the issue of cell phones: not while driving, thank you.

“Okay, we’re set now,” affirms Fred, ready to take the interview. “Don’t want to get a ticket!”

Besides the quirky legislation, the DJ is getting used to life on the west coast and to working more closely – professionally and physically – with OM. He’s just wrapped up a tour as one of four marquee names on the label’s star-studded “House of OM Tour,” a round of national gigs that brought Fred Everything, Colette, Andy Caldwell, and DJ Heather to packed nightclubs from sea to shining sea.

“We’re all friends,” says Fred of the quartet. “So it was a nice experience. It was a lot of fun, even if it was pretty tiring at times. We did up to four cities in a single week!”

The assemblage of top tier DJs may have been so well-traveled that they barely knew what city they were spinning, but at least they had the opportunity to make good on the title of Fred’s latest disc, and get Lost Together.

“It [the title] comes from the idea that we’re so connected nowadays,” explains Fred. “There’s constant email, text messages… everything you have is on your phone… there’s GPS.”

“But somehow,” he elaborates. “There seems to be this void [between people].”

Maybe it was the process of Fred’s relocating, but Lost Together manages to musically capture the hints of forlornness, melancholy, and yes, hopeful optimism that accompany a grand voyage. The steady cadence of beats rise and fall, like the steps of a brave nomad on a miles-long trek; the disc spins like the wheels of a caravan en route to a club oasis; and Fred manages to avoid undermining his trademark sound while also incorporating, more strongly than ever before, the specific deep house vibe that the west coast – and OM Records in particular – has been so instrumental in pioneering.

“It’s a logical progression,” says Fred of how Lost Together compares to his previous work, including his seminal 2000 work Under the Sun. Released shortly after his move to London, that album established Fred Everything as a name to watch in the future.

Lost Together, however, carps to his past.

“There’s an ‘80s flavor to it,” says Fred. “Elements of disco and funk. I’m not sure where it came from!”

Most likely, it came from Fred’s first home in the nightclubs of Quebec City, where he began hitting the nightclubs at the age of 13. “I was really young!” he laughs. “I’m not joking. I started going out really, really early.”

Diva Divo • copyright 2008 • kurtmalecdesigns.com
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FRED EVERYTHING on…

… the first piece of equipment he ever purchased.

The first year I was able to work, I bought a keyboard at the end of the summer. It wasn’t easy like today, where you can have a computer and right there you have everything right in front of you. I had to spend a lot of money, and you wouldn’t get something that even sounds good! You would have to get a mixer… and now, kids, as soon as they have a computer they have compressors, they have effects. You needed to buy something one by one and learn it that way.

… the “House of OM Tour.”

It was definitely a good experience… it’s good to have the ability to play in different places and expose ourselves to those markets. We played all kinds of shows; sometimes small shows in small cities. Often, I think those are the shows that have the best vibe. They are really excited to see us, especially the four of us together. It was a really nice tour in the sense that we were really close to people. We had a merchandise table where we sat and people got to see us. None of us think of ourselves as big shots or anything. Most fans are really respectful [when they meet]. Once in a while someone might act like they’ve known you forever and get into your zone too much, but that’s one out of 100.

… the limits of eclecticism.

If you play techno or house, you can mix it up within the style. But I don’t think I would really want to do the thing where say, you play house and techno and drum and bass in the same set. That’s what I used to do live; I was exploring the different styles of music coming out at that time. Nowadays, I’m happy staying in this sort of house world, but there’ still so much to explore. There’s so many influences that you can play. I think sometimes being too eclectic can be a little bad for the crowd. I like to kept at a constant groove and then improvise.

… choosing the right vocalist for the right track.

These people are mostly my friends and acquaintances. It’s never forced. It has to feel right on that track. Lisa [Shaw] has more of a sultry vibe, rather than a funky Prince vibe. [N’Dea] Davenport is more of a ‘70s disco vibe. And Roy [Davis] has worked on deep house, so that’s where Roy’s vocals are.

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