“yeah, terje is blowing up.. got people from all corners of the world being â€¨enthusiastic about him. I understand them, he is fresh, heâ€™s not boring and too serious with his tunes..he cracks the depression of the clubbers mind. I love it.. my favorite artist right now” â€“ Anon
Following a string of celebrated releases leaning on everything from kitschy euro sounds to dub disco and psychedelic house, Todd Terje made his mark within dance music circuits. Gems such as the cheese anthem â€śEurodansâ€ť and the latin disco fuelled edit of Jackoâ€™s â€śCanâ€™t Help itâ€ť under his Tangoterje edit-moniker instantly made industry types and clubbers alike go bananas, and made him to everybodys darling from Gilles Peterson to Pete Tong.
Training to become a pianist Terje enrolled at a local music school, but to his disappointment there wasnâ€™t much jazz being taught there. Gradually leaving the musical career path, he later moved on to study physics at the University of Oslo. Although not longer aspiring to become a pianist, he was by no means over music.
Growing up in the rural village of MjĂ¸ndalen, dance music influences were scarce, and no, there was never any “diskoklubb” there. Not a lot of obscure disco or acid house in his milk either. However, during the early/mid nineties dance culture sneaked it way into even the most remote parts of Norway, thanks to the popularity of acts like the
Prodigy and national radio stations filling prime time slots with underground jocks Olle Abstract and PĂĄl â€śStrangefruitâ€ť Nyhus from Mungolian Jetset. On the more personal level, Terjeâ€™s sister was a close friend of the late Tore â€śErotâ€ť Kroknes,who was famous for his releases on Telle records and his production for his girlfriend Annie on the classic disco pop single â€śThe Greatest Hitâ€ť. The tapes his sister brought home from Erot to the young Terje became a major
source of inspiration for him. Playing around in his early teens on a crap PC together with his mate DĂ¸lle JĂ¸lle, Terje made his first attempts on house and jungle(!), which they played from cassette
tapes on junior high school-dances(!!). Maybe too young for old music back then, Terje reckoned that disco was all a bit silly – until BjĂ¸rn Torskeâ€™s (one of the early pioneers of the Norwegian disco scene, that became so popular afterwards) â€śSexy Discoâ€ť caught his ears in 1999 and inflamed his love for the disco sound. Little by little he got sucked into the world of dusty record shops and cheesy disco.
In 2001 Terje got in touch with Prins Thomas, who was at the time working at HS Records in Oslo. Thomas soon recognized his potential, and helped pushing Terje in the right directions. Oslo is a small place where like minded folks tend to join forces, so it didnâ€™t take long before Terje also was introduced to Hans-Peter LindstrĂ¸m.
This mighty trinity of disco vikings from now on worked on their very own vision of balearic disco to spread over the world, which produced so many epigons and clones, but was almost never reached.
Inspired of the former UK generation of disco heads such as Idjut Boys, Black Cock etc, Terje soon began to make is own re-edits of old disco records to make them more suitable for his dancers. But instead of just adding a bass drum and remove some vocals, he injected musicality and playfulness for a more personal twist. Cheesy pop artists such as The Bee Geeâ€™s, Michael Jackson, Chris Rea, Wham, Paul Simon, America or Chic didnÂ´t turn him off, as “thereÂ´s
nothing wrong with grandiose pop if thereÂ´s an equal amount of dub to it”, edit rule number one. This untraditional approach made him the King Midas of edits and he reinvented the whole edit genre almost all by himself.
Inspired by doing edits Terje soon moved on to his own productions which led to two higly acclaimed singles on Prins ThomasÂ´ Full Pupp label: Mjondalen Diskoklubb and Eurodans. After a while remix requests started coming in. Terje transfused the concept of his edits onto his remixes and created a totally new sound cosmos for every track. In most cases they didnÂ´t have much to do with the original tracks, only few fragments from the original were necessary to slice
and juice up with his own ingredients, usually resulting in sure shot dancefloor material. Not many remixers puts this much love into their tracks, this makes every remix coming from TerjeÂ´s end of the table sound like Billboard Top 20 material.
ItÂ´s now 4 years since Terje dropped out of physics studies to do music full time. Some might say this wasnÂ´t smart, the future is in the Planck constant. Terje would then say no, that WAS quite smart, and that he is now the Remaster Of The Universe.
Todd Terje Mix