Addy builds his house on three decks. From hard, to funky, to tough and techy, his signature triple-turntable sound is as discerning as his musical tastes. With his keen track selection and solid programming, Addy doesn’t slip just any vinyl under the needle, but the best in old skool house to the freshest cuts. Having played nearly every club in Toronto with at least three residencies a week for the past four years, Addy is a Toronto favourite who’s opened for the likes of David Morales, Frankie Knuckles and Junior Sanchez, and closed for Tiesto and Bad Boy Bill. As producer/remixer, Addy is his own engineer, turning out tough tracks that as of late speak to more progressive soundscapes, tribal accents and sexy Spanish guitars.
Known for charting remixes like 1999’ BKNY’s “Sensations of the Mind” on New York’s Ironic Recordings, and “I’m Lonely” on Toronto’s Stickman Records, some of his best work includes original production with Myka to create The Frost Project’s “Chief’s Warning Nympho Sounds,” which was signed to Steve Lawler’s Dark Drums Part 2 CD in 2001 on Global Underground. Addy’s personal touch on Paranoid Jack’s “Slavedriver,” also out on Stickman Records that same year, made airplay on King Unique’s guest appearance on BBC Radio 1’ Essential Mix.
Addy moved to Canada at age 14 and quickly found a sense of community in the late 1980’ hip hop and reggae scene in Toronto. When he first heard the song “Pump Up the Volume” with that funky bassline that spun his head, Addy was hooked on dance music. Shortly afterwards, meeting DJs Boy Wonder and Mario J – one of Toronto’s rave scene’s pioneering forces then known as Super Mario – at a nightclub just north of the downtown district led to Addy’s addiction to house music. He would soon tag along for the trip downtown to raves and after parties where he’d watch and learn from originators Mark Oliver and Kenny Glasgow who inspired and taught the 17-year-old about house music. It wasn’t long before Addy naturally took to the decks playing time slots at the brink of dawn and essentially setting the stage for good things to come from Addy the DJ. He kept it up during the rave scene’s heyday from 1992 to 1995. But by the time Toronto’s underground raves were merging into nightclubs in the late 90s, Addy was taking a self-induced hiatus and studying audio engineering.
Making his comeback in 1998, Addy seemed young and fresh to the thriving club scene. While he appeared as the new up-and-comer, unbeknownst to many, Addy already had more than five years of DJing under his belt, plus time producing tracks and remixes in his home studio. It wasn’t long before he returned to his familiar place behind the decks. After hooking up with Pino Renna (a.k.a. DJ Silk) – then resident at the city’s now longest-running after-hours club, The Comfort Zone – Addy started what would become one of the most popular underground house residencies in Toronto. Playing “The Zone” pushed Addy’s DJ career to the next level as he moved from the underground parties he was playing with the Metro Productions crew, which included rave legends Myka and John E, to the mainstream club district.
From there stemmed residencies at MadBar, Fluid, Nasa and Bauhaus to Turbo, Limelight, Tonic, Digital and Life, with bookings at The Guvernment, Industry and System Sound Bar. Today, still loyal to the crew that helped boost his career, Addy plays The Zone every Sunday morning after four hours of funky, tribal house each Saturday at his newest residency at The Drink inside Canada’s largest club, The Guvernment. This latest feat speaks to Addy’s versatility as a DJ, which exceeds the high expectations of the musically cued-up crowds that fill the lush club week after week. To kick off the weekend, Addy plays Film Café on Fridays, where the sights and sounds are ever so slightly reminiscent of tucked-away, old skool parties that consistently lure a loyal crowd.
Meantime, Addy’s latest production reminisces about a time sentimental to the club scene. Released in November 2002, his remix of Matt C’s “Missing You” is a tribute to Toronto’s infamous Industry – the only nightclub that actually saw Addy rip it up on the dance floor, and where he eventually found himself behind the decks pumping up the crowd to do the same. The LP is out on none other than Matt C’s Family Recordings – one of the club’s owners who saw Industry reach pinnacle success before its closing in 2000. Addy is also touching on a more melodic tip with another remix due out by year’s end – his take on GASP’s progressive, vocal-induced “Signs of Change” on DMT Records promises to reveal yet another side to Addy and his house.