Eats Everything and Totally Enormous Extinct Dinosaurs Interview
Yeah, our title reads a bit like a joke, but I assure you this is the real deal. Here is something very rare readers of Magnetic Magazine, a dual interview with Eats Everything and Totally Enormous Extinct Dinosaurs. I was only set to interview Eats Everything but then lightning struck one fateful evening in San Francisco, and the rest is not necessarily history, but the rest is this interview. They are good friends and collaborators, two minds of similar but unique perspectives, so read carefully and taste the sweet fruits of their talented and experienced wisdom.
If you need a refresher on who these two amazing artists are, well here you go!
Eats Everything (real name Daniel Pearce) has been around for quite sometime, honing his master DJ skills for the past twenty two years. The man, the myth, the legend that is Eats Everything burst onto the scene in 2011 and rapidly rose to the top with his debut 'Entrance Song' and numerous subsequent releases on Dirtybird, Pets, and other top notch labels. He is an artist focused on the party, a self proclaimed and proven lover of all things raving. With the launch of his new label Edible, Eats Everything is making the world sound better one release at a time. Simply, he is an artist you should already know, and if you don't, well looks like you've got some work to do.
Totally Enormous Extinct Dinosaurs (aka in acronym from T.E.E.D. and real name Orlando Higginbottom) is many things - a musician, a singer, a writer, a lover, a new label owner [NICE AGE], and the creative titles go on ad infinitum. He has been around for a minute, and crushed 2012 with one of the better albums to come out in a long time with Trouble, as well as dominating 2013 with a moving vocal collaboration with Dillon Francis. Yet, T.E.E.D DJ sets are also a thing of lore that have to be experienced and loved to truly believe it. He's a brilliant person overflowing with creative potential, impressive intellect and a great sense of humor to top it all off.
Okay, now that we went over the basics of who these profound and prolific characters and artists are, let's get on with the double interview!
Eats Everything, I have yet to encounter a single producer or DJ that does not sing your praises both as an artist and as a human being. Are you the best friend ever, or do you just play extremely well with others?
Eats Everything: I don’t know how to answer that! What do I do? I’m a nice bloke. I make or write music, but I have many heroes, longtime heroes. Orland here, he’s one of my heroes. Artwork is one of my heroes. Skream, Justin Martin, Catz n’ Dogz, these kind of guys because you’re in this world of fucking wankers and you’re surrounded by nobheads left, right and center. It is the most ungenuine place you’ve ever been in your entire life, but you meet people like this guy, and you meet people like Catz n’ Dogz and Justin and etc. who are actually normal. I know for a fact, if our careers, if my career or his career failed in six months time, we’d still be friends.
Eats Everything: But can you say that about 90% of the people you know in this industry? You can’t!
Eats Everything: You can’t, you really can’t. The most important thing for me, when I do Edible parties...
T.E.E.D: Personal connection.
Eats Everything: Personal connection! I respect what he does and he’s a wicked DJ and he makes great music and has an amazing taste in music, but most importantly he’s a fucking dude! Being a fucking dude. There are not enough dudes, there are a lot of dickheads. There isn’t many people that I would consider friend friends.
As I’ve read you vehemently and passionately support raving. What exactly is raving for you and why is it important?
T.E.E.D: I think that one idea of raving, to paint a picture, would be when you’re in the corner and you’re not dancing with anyone, and you got your head down, and you’re just in it. It’s cathartic, it’s a therapy thing, it’s a personal thing. That’s when it’s the best.
Eats Everything: On the flipside, you can be right in it, and there can be thousands of people around you. Personally, for me, the best days were like mid to late nineties, they were the times I really, really had the most fun. I have amazing fun now, but fun now is different. My best times were in mid nineties, way prior to Eats Everything. I still call every party a rave, you’re there to have fun and dance to music.
T.E.E.D: Daniel, explain to the American audience, the difference between a wide boy, a rude boy and a bad man.
Eats Everything: A wide boy is a geezer that, in my personal opinion, is a guy that does really understand raving; is a guy that goes to the rave, but doesn’t really understand the rave. A rude boy is a guy that is in the rave and knows the rave. A bad man is the rave.
T.E.E.D: I would add that a rude boy is in it, but a bad man is the rave.
Eats Everything: Bad man is the rave, whether he be a fourteen year old child or an M.C. on the stage. The bad man is the rave, the rude boy is in the rave, wide boy wants to be in the rave, but hating the rave.
What is the Eats Everything philosophy?
Eats Everything: Fucking have fun and don’t be a dick.
What is the T.E.E.D philosophy?
T.E.E.D: Express and dance.
So you are regarded as master DJs and your productions are of the highest quality as well, do you have a preference of one or the other? DJing over producing? Or producing over DJing?
Eats Everything: DJing. DJing. Because I’ve been a DJ for over 22 years, and the only reason I make music is so I can DJ. I’m all right at making music, I don’t particularly like it, but I do it because if I don’t do it I can’t DJ anymore. DJing is what I love. I get paid to travel and make music, I DJ for free.
T.E.E.D: I feel I’m here to make music.
So producing over DJing?
T.E.E.D: I feel those phrases get confused.
Why do they get confused?
T.E.E.D: Because a producer is different from a writer is different from a singer.
What’s the distinction between performing and creating?
Eats Everything: I prefer to perform than create.
T.E.E.D: I like the balance.
Eats Everything: DJing for me is way more fun than producing music.
What is the Eats Everything album coming out?
Eats Everything: I don’t know. I’m trying to do it.
When is the TEED album coming out?
T.E.E.D: When I’ve finished it, about three months later.
Eats Everything: I don’t think you need to make albums now.
T.E.E.D: I’ve got to sing about heartbreak man.
How do you read a crowd?
T.E.E.D: I don’t. I play the music I want to play, I’m not here to please anybody.
Eats Everything: I have learned in the last year and a half more about DJing than I have in the previous twenty and a half years. I used to hate playing in places like Italy, Spain, Portugal, and now I fucking got it nailed. I play a slightly different way to how I would in Ibiza. America is still tough. I nailed America last year, but because I haven’t been here in so long, like tonight, it was good fun, but until I played ‘Sylvester’. What America is into is just different than it is in Europe.
As British musical conquerors, what is your interpretation of America in ten words or less?
Eats Everything: I fucking love it! Love it, love it, love it!
T.E.E.D: I love the audience here.
Eats Everything: The people are so friendly.
Do you also love that you don’t know how to read Americans as well as you do European crowds?
Eats Everything: I prefer to read them better, but it’s a part of the job. DJing is much more than playing records, it’s a skill that I am still learning.
T.E.E.D: When I’m up there, I just see pairs of ears and I want to fill them with music.
Do you have any parting words of wisdom for aspiring artists? Not necessarily in music, but artists in general.
Eats Everything: Buy good monitors. Spend all the money you have on monitor speakers because I spent years and years on shitty monitors and got nowhere. Then I spent a thousand pounds on monitors and then I made ‘Entrance’ song and ‘Heavy’ and now I’m talking to you about this question. So spend a lot of money on monitors, don’t release music before you have to, don’t think you’re great, and don’t listen to what your friends say, “Oh, it’s amazing, it’s amazing!” because it probably isn’t, it’s probably good, but it probably isn’t amazing.
If you want to get somewhere, especially nowadays, you’ve got to really change it. You actually have to change. You can’t just make some shitty Disclosure record, you need to actually get in there and create something new. Watch guys like Danny Daze, Jimmy Edgar, etc. and Orlando with his latest thing with Anna Lunoe, making music that is out there. Who cares if it doesn’t sell units? At the end of the day, as long as when you play it, people are getting down, that’s all that matters.
And the third thing, get out there, meet the DJs, meet the people you want to be associated with. If you’re into good music, unless you’re into like Tale of Us and those kind of people who won’t give you the time of day, as much as I like these people, they’re lovely guys, but if you’re into the music we play, guys like us like Claude Von Stroke or whatever; if you want to get into that scene, go to the raves, try and meet those people, the more you spend time with those people, the more chances you have of getting in. All I am saying is from my experience.
T.E.E.D: All right, genuinely, my words of advice, to a creative person. Ask yourself every day, why you do it, what is important to you, and question everything you’re doing. Not because it’s wrong, but you need to find the right reasons to do things. You’ll eventually come to the conclusion that it is about you. It’s about you and expressing yourself and doing your thing. The only way you’re ever going to be interesting to other people is by being your own individual.
Eats Everything: If you try and emulate other people…
T.E.E.D: You’ll have success, but it won’t mean anything.
Authenticity is a crucial thing.
T.E.E.D: Authenticity is not the word. That gets confused with credibility, that’s just bullshit. Authenticity says that someone is judging you, it’s just about doing your thing.
Eats Everything: Finding you and what you’re into, that’s what it’s about. Making music is a very subjective and a very personal thing. A lot of people are into this and what they want to do is become the most massive thing they can. They will do records and they will sell them to labels with vocals on because what some of them will say, “Alright, you’ve done a hit record on Beatport, here’s a hundred and fifty thousand dollars, let’s put a vocal on it and make this a chart hit!” You might get a free single deal from Atlantic or whatever, and then you do all right and make a lot of money, but in a half years time, who is going to book you? There’s more money to be made by longevity, stay true to yourself, do what you do, and don’t give a fuck basically about being a superstar because you’ll be a superstar, that’s it.