Zedd is the creator of songs in the billion-stream club: “The Middle” and “Stay”. This GRAMMY Award-winning multi-platinum artist recently released his first album in nearly a decade: Telos, a 10-song masterwork that combines his classically trained roots with the singular dance-pop sound that underpins his incredible career. On Telos, Zedd is joined by a diverse cast of collaborators: rock monoliths John Mayer and Muse; alt-pop stars Remi Wolf, Dora Jar, and Bea Miller; modern Irish folk collective the olllam; and the iconic voice of the late, great Jeff Buckley.
Telos offers a profound listening experience seamlessly transitioning through each record, from the alternately brooding and soaring opener, “Out of Time” with Miller, to the 6-minute, Bach-the inspired finale, “1685” featuring the entirety of Muse.
A couple of weeks after the release of the album, Atlas Artist Group and other publications got to join Zedd virtually to hear about this new project that was a decade in the making. Below is the conversation, lightly condensed for clarity.
You released Telos on August 30th. What was the timeline for creating this album? When did you start, and when did you finish it?
It’s hard to pinpoint exactly when I started the album. During the pandemic, I thought it was the perfect time to work on a project. I figured I’d be ready by 2020, but I felt uninspired. I did make some great songs that are still dear to me, but creatively, I wanted to make something special. The only track I kept from that period was “Dream Brother.” I ended up restarting the project and decided to make the album for myself, not for streams or algorithms. Some of the songs on Telos date back to 2015, but I really started focusing on the album around the end of 2020 and into 2021.
It’s been almost 10 years since your last album. How has your music-making process changed, and did that break help you explore new ideas for Telos?
Ten years ago, I was insecure about working on vocal parts, especially lyrics. English was my third language, so I wasn’t confident, and I preferred leaving that part to others. On Telos, I was much more involved in the vocal writing process. I also think my production skills have improved, so things take longer now because I try out more. Overall, my sound has matured; I’ve learned that sometimes less is more.
The title “Telos” refers to completion and accomplishment. What does finishing this album mean to you personally and musically?
Finishing Telos felt like a personal accomplishment. I doubted for years if I could make an album that’s truly connected, both musically and conceptually. It’s cinematic and genre-blending, and I wasn’t sure I could pull it off. But once I decided it wasn’t going to be a commercial album, I took my time and put everything into it. I’m really proud of what I achieved with this project.
Telos has a cinematic sound. What TV shows or movies do you see specific tracks being part of?
Some songs have very specific cinematic connections for me. For instance, my song with Muse, even before they were on it, always felt like a space movie to me. Other tracks like “Shanti” evoke a much more India-based visual. I’m known as the guy who watches two movies a year, so I’m not the biggest expert on what shows they’d fit into, but definitely something grand and spacey.
How was it working with the collaborators on this album?
It was an honor. Many of the collaborators on this album, like Muse and John Mayer, are artists who inspired me growing up. Muse was the first band I ever covered, and I’ve listened to John Mayer for years. Working with them pushed me to make better music. Artists like Bea Miller also helped me finish songs I was stuck on, thanks to her incredibly versatile voice.
How was writing Telos different from writing your other albums, True Colors and Clarity?
When I wrote Clarity, I didn’t know I was writing an album. I was in the studio working on Lady Gaga’s album, and Clarity sort of developed naturally. Telos, on the other hand, was much more intentional. I knew early on that I wanted it to have a theatrical, cinematic feel, with an orchestra connecting everything. True Colors was somewhere in between, where each song had its own flavor. But Telos is more of a concept album.
How do you handle burnout, and what advice do you have for young people managing that?
I’ve learned that pushing yourself too hard isn’t worth it. It’s a delicate balance because sometimes pushing leads to great results, but you need to listen to your body. There were days when I was scared to work on music because I was afraid of failure, but taking a proper day off helped reset my productivity. My advice is to take breaks when you need them. Overworking yourself takes away the magic, especially when you’re doing creative work.
This album takes EDM and turns it on its head. What gave you the confidence to defy expectations and let creativity guide you?
My inspirations go far beyond EDM. I grew up with classical, jazz, and rock music, and those influences are reflected in Telos. When I realized that certain songs couldn’t fit into a traditional 4/4 EDM framework, I decided to make the album an autobiography of everything that has inspired me. Ultimately, true artistry isn’t about meeting expectations but about doing what feels right to you.
If you had to remake Telos, is there anything you’d do differently?
Honestly, I wouldn’t change a thing. I’m so proud of this album. It was a lot of work, and if I had to do it all over again, I don’t think I could. It took so much out of me, but the final product is exactly what I wanted it to be.
Stream Telos on Spotify or wherever you get your music!
