Trust has partied all over Europe and America, as well as Mexico, since its inception, and already it is one of the foremost brands in underground house & techno. As such it makes a much anticipated stop off in Manchester at Gorilla on November 6th for a party with boss man Nick Curly and close associate Bill Patrick both playing. Expect only the finest dance floor fireworks!
Hi Bill! How are you?
Relaxed but my f**king neck is killing me due to a bouncy castle accident at my friend’s 30th birthday party in Ibiza last week. I’ve been smoking joints and staying off my feet for the last few days. Doctors orders.
How has summer been for you this year?
Summer has been eventful. Good things happened. Not so many sh**ty situations (besides the neck pain). I would say it was much better than last summer. So that’s something to be happy about.
I wanted to talk a little about how you’ve gained notoriety for being solely a DJ.You have gained your reputation through your DJ sets and for being what I’ve seen described ! as a ‘vinyl nerd’. How would you say building your profile as a DJ is different from someone who also produces music regularly? Do you think it’s a longer process to get noticed this way?
Yeah for sure it’s a much longer process of paying your dues. But much more rewarding in the end. To get recognition as solely a DJ is something I’m proud of. I know how quickly the path to success can take these days. Laptop, Ableton, sample pack, BOOM. Congrats on your super cool trendy track that has a shelf life of about 2 months, here’s a world tour. Overnight success very rarely leads to longevity.
Off the top of my head, there aren’t a vast number of artists who manage to build a career without releasing music regularly, with Sonja Moonear, Bella Sarris and Craig Richards striking me as other examples. Is releasing music something you want to do more of in the future or will your love always lie with playing records more than making them?
I don’t know what the future holds. I could be siting on a goldmine of untapped production skills and decide in 5 years to give it a whirl, make some s**t that changes the game and be considered an electronic Chopin. Or I could get hooked on bath salts and cannibalise myself. I can’t predict these things. I would love to score a film one day. Or at least soundtrack one.
I'm sure it can be said that as much time that someone may spend creating music has been put into building your record collection. Can you tell me about your first experience of buying records?
I was living in Long Island. There was a skate shop and record store in town called Special Sauce that sold house, techno and jungle. I remember going there and buying everything I could get my hands on. Armand van Helden, Jeff Mills, Roni Size, Soul Slinger, it was all new to me and I didn’t have any clue how to mix any of it. My poor parents had to listen to me figure it all out in my bedroom.
How many would you say you have collected over the years and, without asking you to reveal! any that you keep close to your chest? Could you name a couple that you found particularly exciting to buy?
I have no idea how many I have..thousands probably. I have a bunch at my place in Berlin and the bulk of my collection at my father’s place in New York. I go back there every time I tour the states and dig through the old stuff. It’s like going to an amazing second hand shop except everything is free.
Saying that, what is your opinion on sharing music? Do you think keeping records to yourself to attain some exclusivity in your sets is important, or would you happily share all your tunes with other people?
I love sharing music. If I hear something amazing I want to pass it on to my friends. There’s a group of us who share music on Skype, dropbox, etc. I always believed that even if everyone has the same track I’m still going to play it differently than most DJ’s. Of course there’s some tracks that I will hold close and not put in that shared dropbox folder. You have to have a few personal gems.
You recently played at Sunwaves and Suma Beach, two places keen on a good crack on. I’ve read about how you favour playing the after hours over earlier slots. Why is this?
The connection, the trust in the crowd, the ability to experiment and take more chances. The patience. I think that’s the key. In the club, no one is patient. They want you to get to the breakdowns, the big moments, the effects, the bulls**t (if you play that stuff). They’ve paid a cover, they’re only there for a few hours and they want some action. Luckily I don’t play in most of these type clubs but sometimes they slip through the cracks. At an after party or at a place like Suma, Sunwaves, Arma 17, Closer in Kiev, people are patient and know there’s a whole day ahead of them and we’re in no rush. That makes it so much more fun to play and where those magic moments are more likely to happen.
Over the next few months you have a couple of dates playing for Nick Curly’s Trust parties. What’s your relationship like with Nick?
I don’t know Nick too well but I like his selection of music and all the Trust parties have solid lineups so I’m excited to be part of these nights.
The collab with Trust sees you and Nick playing at Gorilla in Manchester on 6th November. Do you have any fond memories of playing in Manchester from the past?
Yeah the first time I played in Manchester around 12 years ago, f**k, I forgot the name of the club. Anyways, I remember seeing where The Hacienda once stood. I think they were building apartment complexes. Same fate as Vinyl in NY. I wish this story was cooler but it’s not. Sorry.
Thanks for your time Bill. All the best!
Interview by Josh Plews
Photos courtesy of Bill Patrick
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