MuzzY is Detroit-Based Producer/Musician Dan Hacker. Thrust onto the scene at a young age, Dan found solace in the old school. Stylistically blending Motown and Jazz samples with modern hip-hop drum breaks, his music can best be described as “Soul-Hop”. He combines a wide variety of influences from Stevie Wonder, to Led Zeppelin, to J Dilla with his own live Guitar playing; which together makes for an interesting recipe set to tantalize your ear drums. You can catch MuzzY bringing back the funk around Michigan and the Midwest, and also with the likes of GRiZ and Tone Poets (Live Jam Band with Freddy Todd, ill.so.naj, and Unc).
Words will inevitably fail to properly describe Freddy Todd. Genre-busting could be an understatement. You can’t pin him down with lexicon like lazer-bass and glitch-funk; these phrases fall way short of capturing the expressiveness, fearlessness, and space-traveling qualities of his music. Hearing his music is akin to being abducted by an extra-terrestrial cruise liner where everyone is tripping on space acid. And if you are lucky enough to witness him produce, you’ll see that he fittingly looks just like the captain of said space cruiser, both hands intently gripping his electronics like the instrument panel on the flight deck.
Let’s bring this back to earth real quick. His motown, soul, blues, jazz, funk, hiphop (and techno for that matter) roots are a given, being born just outside of Detroit in Southfield, MI in 1990. Freddy moved out of his parents house immediately upon turning 18 lusting for the world and the creative juices it has to offer, living briefly in Ferndale, MI at first, then to the outskirts of a rougher part of the city of Detroit near 7 mile and Lahser for two years to live with his then-band “Tone Poets”, producing for Scrummage hip-hop queen “Breezee One”, and wrapping up his second full length studio LP on Simplify Recordings, followed by a year in Chicago. After living in the midwest until the age of 22, his sights were set on the golden west. Moving cross-country and living two years in the Bay Area, living in both the hood of West Oakland followed by the Oakland Hills while writing and releasing the “Golden Tremendous” album and starting his next EP. After soaking up the Cali vibes, he returned across country for some more wholesome less-congested living in the blue ridge smokey mountains of Asheville, NC to be closer to family, where he currently resides.
Freddy Todd is truly a master of his craft not only in the studio but on stages across the globe. Without any pre-recorded sets, Freddy has the skills and the audacity to perform on the fly mixes of 100% original material tailored to his specific audience, mood, and venue each night, be it a theater in northern California, a club in the back alleys of Detroit, or an outdoor festival in the bush off the eastern coast of Australia (occasionally on special nights with his live drummer forming the FT Live Band/Duo). His earth shattering, meticulously programmed beats & rhythms, his lazer crunk, funky psychedelic bass & sound design, and his brain tingling, intelligently soul-soaked synths, melodies, & field-recorded samples are sure to shake your consciousness as they blast through airwaves out of top notch sound systems across the universe while Freddy serenades you with 100% live & improvised get-your-booty-on-the-floor analog Moog synthesizers & keytar, loop triggering, and occasional drums & percussive elements. Be careful where you don’t look.
How many licks does it take to get to the center of Smoota? He’s not telling, but he welcomes you to find out. Most tales of love portray the first glance, the first laugh, the first kiss. But they trail off when the lights go out. Smoota sings love songs that tell the whole story — from first glance to first spank to last sigh. Nothing is out of bounds if it’s true.
Smoota’s music has been described as “hyper-sexed, sensual alt-soul grooves” (Time Out New York) and “an excellent example of how the libido sounds” (San Diego Reader).
Other Music in NYC praised Smoota’s debut LP FETISHES (2013, Body To Body Records): “Combines the slinky DIY funk grooves of Shuggie Otis with the offbeat, trippy psychedelic stoner charm of James Pants, all topped off with a sly pervy streak that winks toward Serge Gainsbourg and the P-Funk mob….Smooth, laidback soul and funk that’s slightly gritty at the edges; he’s a skilled musician with the chops to pull this off.”
Smoota plays with acclaimed art rock band TV on the Radio.
Smoota performed with Sufjan Stevens on his trombone-heavy Age of Adz tour (2010-11) and has played and/or recorded with Run The Jewels, Spoon, Miike Snow, Elvis Costello, El-P, Pretty Lights, Deer Tick, MNDR, Pharaoh Monche, Gordan Gano of the Violent Femmes, Akron/Family, Bebel Gilberto, Angelique Kidjo, The Bogmen, Red Baraat, Steve Arrington, Cee-Lo, Antibalas, Chin Chin and many others.
Smoota also played trombone and keyboards in Fela!, the Broadway musical directed by choreographer Bill T. Jones about the life of Nigerian Afrobeat pioneer Fela Kuti. Halloween 2009, he joined Sharon Jones and members of the Dap-Kings to help Phish cover the Rolling Stones album Exile on Main Street, documented in the 2010 film Phish 3D. And in 2010, Smoota played trombone and acted in a stage opera version of Melvin Van Peebles’ proto-blaxploitation flick Sweet Sweetback’s Baadasssss Song, directed by Van Peebles himself and featuring music from Burnt Sugar the Arkestra Chamber, the cosmic freak soul group led by Greg Tate (co-founder of the Black Rock Coalition with Living Colour’s Vernon Reid).
Smoota can usually be found on Monday nights playing at Union Pool in Williamsburg, Brooklyn with local dirty gospel R&B institution Rev. Vince Anderson and the Love Choir.
Smoota grew up near Boston and studied Film and Literature at Harvard University, where he made 16mm films under the tutelage of Yugoslavian maverick filmmaker Dusan Makavejev.
Since 2006, Euphonic Conceptions has been dedicated to putting on events featuring fresh new directions in music and art. The goal is to develop, support, and sustain culture that can birth groundbreaking artists and allow them and the community they represent to flourish.