The phrase “thinking outside the box” may come to mind, only to be quickly dismissed upon realizing that he’s already far beyond the concept of boxes, or dichotomy for that matter. Anything and Everything is fair game in the world of Freddy Todd, and let it be known that he’s just warming up.

Words will inevitably fail to properly describe Freddy’s tracks. 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. Yet for all of it’s radical uniqueness, something about it seems strangely familiar, as if lost knowledge in your mind is being unlocked by sacred melodies. Perhaps that is part of his wide appeal; the music is so robust that it’s complexity actually folds upon itself creating a oneness that is strong and unfragmented, mimicking life’s infinite cycle of chaos and order. 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.

Born with a name which needs no alias into a blue-collar suburb of Detroit, Freddy wasted no time beginning his search for all that is mysterious, sacred, and psychedelic in music. It was apparent early on that he was to be a jack of all trades, taking up drums, guitar, bass, synthesizers and eventually digital equipment; all of which were available thanks to a family with a strong musical background, resulting in various musical projects during high school. But as many rising talents often do, Freddy was pushed into a detour via a short run at U of M Dearborn. But luckily for fans of EDM, the university setting didn’t stick for Mr. Todd, and he was soon back on track to finding his sound.

At age 19, Freddy finally took the dive into music production head first. Momentum began building immediately after he first started posting his work on Soundcloud and The Glitch Hop Forum. It was the first glimpse of what Freddy was capable of and a blueprint for what was to come. Without hesitation he kept hitting the basement studio daily on a mission to break into the EDM scene in a big way. He was inspired by the opportunity he saw to spearhead an emerging genre, Glitch Hop, that combined the large and wobbly sounds of artists like Bassnectar and Pretty Lights with the intelligence and complexity of legends like Aphex Twin and Telefon Tel Aviv. And that’s precisely what he did, making it clear he was a force to be reckoned with.

This earned him a number of releases on Seattle based label Car Crash Set including Ghost Dance Messiah, Can’t Fathom This Remix EP, and Space 5 Penthouse with remixes from the likes of NiT GRiT, ill-esha, Mochipet, Om Unit, Samples, NastyNasty, Elfkowitz and others. Yet again the bar was set very high, and blogs were ablaze with talk of this Freddy Todd kid that was tearing up their speakers. Freddy was not afraid to go there, and “there” is exactly where everyone was waiting to be taken.

A couple bandcamp self-releases later (Hallowz Eve, iLLegal Summer ‘Stache, Winter Soulstice), a full length release had begun to near completion and gained the attention of Simplify Records. These tracks, all 28 of them, were cards that Freddy had been keeping in his hand and represented his deepest and most inspired tracks to date, music that was the result of 1,000s of hours practice in sound design as well as a psychedelic growth in his personal life. Neon Spectacle Operator was released on January 14th, 2011 to huge anticipation and quickly rose to #2 on Addictech, staying there for six months making it third on the yearly chart.

2011 would indeed turn out to be a whirlwind for Freddy Todd. By this point he was performing across the nation on his Livid Ohm64 and making the permanent move out of his parent’s house with fellow musicians ill.so.naj and Unc. He went right to work crafting his next full length while simultaneously completing collaborations with artists like the emcee Black Mic (Dopesauce), S.P.E.C.T.R.E. (Honey I Crunked tha Kidz), and remixes for Bobby Tank, Mochipet, Zebbler Encanti Experience, and Samples to name a few, as well as a plethora of single originals scattered across various underground compilations. The summer kicked off with a massive remix of the Grateful Dead tune “Truckin’”, striking a rare chord where the two ends of the festival music spectrum come together, and the Internet once again went wild for Freddy Todd. These were all primers for his most profound release still to come.

Painting in a Silent Eternity LP was dropped in mid-summer to a now large and thirsty fan base. This was the next step up, the next phase of Freddy’s evolution. It was all of the twisted bass insanity that was expected from him, but with the intensity cranked to the max. It sounded matured yet playful. Educated yet fresh. Heavy yet melodic. He had honed his skills and cut the superlative. 17 tracks take you on a lazersynth joy ride that won’t slow down, and by the time it’s over you are wondering what other worldly encounter just took place. PIASE saw even greater success than the first LP and continued the exponential growth of Freddy’s career. The B-sides of the LP were released the following year featuring close Michigan collaborators Jaws That Bite, Bones, and ill.so.naj.

Other artists he has worked with include GRiZ, Heyoka, B. Lewis, Chuck Morris (of Lotus), RNDMS, Mr. Bill, Shadow Attack, Omega, Drewmin, Fat Ray, Bobby Tank, Scorpion, +verb, Inaudible, Joe Mousepad, Breezee One, Galaxc Girl, Lila Rose, Broken Haze, Augusta Morrison and more.

There are no plans for Freddy to take any breaks. He’s busier than ever touring internationally with Mr. Bill, remixing everyone from Vibesquad to Kool and the Gang, producing his next release, and writing music with his band Tone Poets who are scheduled to start performing in the second half of 2012. Look out for new tracks on his Soundcloud as the world braces for what’s next from this anomaly we call Freddy Todd.