J. Todd: Wizard of genre

J. Todd perpetually re-invents himself by working under different names, in different genres, and with different people. Part producer and part musician, Todd is among the elite of the Milwaukee music underground, fusing funky electro with hip-hop in Def Harmonic, and then moving to synth-based pop-rock with Leo Minor. Todd’s latest project, Wizard Of Cause, takes the Leo Minor concept and moves it in a noisier, more lo-fi rock direction. In advance of Saturday’s show at Mad Planet, Todd talked with Decider about his new band, UK record labels, and whether he feels maxed out yet.    

Decider: You’re working with two bandmates from Leo Minor, and Leo Minor was moving toward what you’re doing as Wizard Of Cause. What made you decide to work under a different name with this project?

J. Todd: I think that the whole reason for doing Wizard Of Cause was because Leo Minor started taking on two different identities—one in the UK and one here—and I just couldn’t reconcile it.

D: How’s that?

JT: It was weird. We got contacted by Domino Records, a UK-based label that works with Arctic Monkeys and all that, and set up this really small development deal that, in the end, kind of didn’t go anywhere. It was something I was focused on for about a year, trying to make it happen. It was a couple years ago when the industry was collapsing; everyone was freaking out. All the A&Rs were getting fired, so it was a horrible time to think you’re getting a record deal. People were interested and not ready to sign. And that’s fine. I wasn’t looking for anything, really. I’m an American—I think that’s a strike against me right there because that doesn’t really work on the UK pop scene. [Laughs.] I just needed to have a creative break from that whole project. And I wanted to do something that was just a noise, pop-rock, home-recorded-style thing. And Leo Minor was very pop-oriented and electronic. I wanted to use guitars and have a band.

D: There’s a definite lo-fi, underground rock influence, and even some shoegaze elements. That’s new for you.

JT: Well, sort of. When I was a teenager, I was really into that. I had a band together that did basically what we’re doing now, except way less competent. I was 17. The band was called Address Unknown. It was a pretty embarrassing group. [Laughs.] I’m really inspired by Ariel Pink. A Place To Bury Strangers—I’m really into right now. Also R. Stevie Moore, a guy from the ’70s who was doing home-recording stuff, is another important influence. Sonic Youth is one of my really old influences.

D: Do you ever get writer’s block?

JT: Never. Well, for certain styles I do. I can’t write raps anymore. I mean, after you do enough songs feeling the same way, there’s just no real reason to do it anymore. If I don’t change, I’d be that same guy playing in that band when I was 17, and I’d be 37. And that’d be fucked up.

D: How do you stay creative?

JT: It’s more like a nervous habit to go in the studio and record. I try to stay in touch with what’s happening in music to keep myself inspired. It’s hard to explain trying to find a sound you’ve never heard before, something that’s familiar but new, but not a totally cop-off or totally experimental.

D: Do you feel like you’ve maxed out in Milwaukee as an artist?

JT: I don’t think so. I don’t have any way to play for the basement show scene here, the kids that are younger than me. I’m really going to try to do that. So we’re playing The Borg Ward in July, and I would love to take this band into a basement setting eventually. I fucking hate playing in bars for every show. It sucks. As far as Milwaukee goes, I feel like there’s a lot more for me to do here.