Born and raised in Sydney, Trinity has made a name for herself by presenting her DJ and live sets across the globe. Featuring at some of the most prestigious and forward-thinking clubs in the world, such as Tresor, ://aboutblank, Kompass Klub, and Griessmuehle, Trinity has never forgotten about her home and is consistently throwing top-shelf parties with international headliners and local acts with her Nightime Drama and 4our parties.
We were lucky enough to sit down with Trinity after her busy European schedule to chat about the current state of Sydney’s nightlife, her experience at Tomorrowland, supporting Richie Hawtin, and much more.
You’ve just gotten back from your trip to Europe – how does playing over in Germany compare to Sydney, or Melbourne?
One of the biggest differences when performing in Germany to Australia is the longer set times, an average set time in Sydney is about an hour and a half, whereas in Germany the clubs are open for a lot longer, so an average set time is between 3-4 hours. Therefore you can progress your set much more organically and allow you to be a little bit more experimental with the tracks you play. There are also no phones allowed on most dance floors in Germany, which makes your crowd be more in the moment. I spend every European summer in Germany and clubs that I’ve performed at such as Tresor, About Blank and Harry Klein are some of the best in the world, and are on a completely different level with regards to layout, sound, lighting ect. Theryre magical spaces for clubbers to lose themselves in. The clubbing scene in Sydney is almost dead due to the lock-out l, aws and there are only a handful of decent clubs left in our city. But a rave renaissance in Sydney is happening, which is a very nice silver lining and also rather exciting! People will find a way to dance, no matter what rules are placed on them. I played at a warehouse party the week i returned to Sydney, and it was as good as any party i performed at in Europe.
How was your stop over in Tomorrowland?
Tomorrowland was a wonderful experience, I went there with no expectations and was really pleasantly surprised. The festival is so well organised, the crowd is great, the production is insane and they make sure the performers are well looked after. I had a brief walk around the festival site, however I spent the majority of my time at the Rave Cave which was proper techno all daywith the lovely Coincidence Records crew, who booked me at the event. The crowd was really up for my style of techno and i had a lot of fun playing to a very responsive crowd.
What led you to think about adopting a hybrid set up when playing gigs?
I absolutely love playing live, it’s an incredible feeling, especially when you’re playing all your own material with a few bits of hardware. I also love DJing and feel really connected to the music I play. I’ve been DJing for 17 years and even though I love mixing tracks, there’s so much more I could be doing in-between. Adding some of my own samples like chords and effects and adding synths or drum machines would allow me to be a lot more creative. I’ve been contemplating combining live and DJing for quite a while. I was very fortunate to connect with a few people that work at Ableton when i was at an Away party at About Blank in Berlin. I had a discussion with the Ableton duo about the new Push 2 and how i was considering purchasing one for a new Hybrid set. They quickly told me to apply for an artist discount, based on my experience with Ableton for live performance and production. So i have one being shipped out as we speak, and will begin the journey into hybrid performing.
What has been one of your favourite moments in your career thus far? Why?
Playing live at the Opera House this year supporting Richie Hawtin at Vivid was a definite highlight. It is such an iconic Sydney venue on the shores of Sydney Harbour, and it was such an honour to play outside on the Northern Broadwalk. i collaborated with my good friend Matthew Herman’s from Electric Lens Co who performed the visuals to my set on the night.
Being a Sydney native, what are your thoughts on the lockouts and the general nightlife scene in your hometown?
The Sydney clubbing scene in has suffered a huge blow with the new lock-out laws, it was once a major contender in the worldwide electronic music scene, but now pales in comparison to clubbing cities such as London, Barcelona, Berlin and of course Melbourne I recently toured Berlin-duo Artefakt across 3 Australian cities as part of my label, Nightime Drama. The parties in Sydney and Melbourne were like chalk and cheese. There is so much more freedom when clubbing in Melbourne and the scene is growing from strength to strength, Sydney clubbing has too many restrictions now, which is why the kids are flocking to warehouses and illegal underground venues.
I read that you created an entire new set for your recent gig supporting Richie Hawtin in Sydney. What was the creative process like behind this, and what did you want to portray through this set?
I knew the gig was going to be outside on the Northern Broadwalk of the Opera House overlooking the beautiful harbour, so I wanted to incorporate the environment into my set. I recorded hours of ambient sounds and broken beats in Ableton for over a month then watched countless documentaries on youtube about plastic in our oceans. I wanted to make people think about this major environmental problem when they were looking at the harbour, even if it was just for a second. I’ve played an ambient live set before at a cultural hub in Sydney called 107 projects for Gail Priest, so I was in familiar territory. The next step was working with my friend Matthew Hermans, as I stated earlier to have visuals coincide with the music. The visuals were magic and worked perfectly on the evening and were themed around oceanic polution, the screen was so much bigger than we were expecting too, so it had a huge impact. The music and visuals were so perfect in fact, that I decided to upload the Opera House recording to youtube only along with the visuals, as I feel you need to experience the two together.
How has it been working at Nightime Drama? Is it an interesting parallel to be an A&R for a label as well as your own independent artist? That is, someone who’s job it is to handpick talent and to release your own music for other labels on the side?
I love being part of Nightime Drama (NTD), alongside Peter Fincher and Shaun Franklin. They signed my first ever physical vinyl release which ended up in Hardwax the first week of release, so that was pretty special and something I won’t forget. I had made a lot of friends in the scene since i started DJing and running events, and it felt natural to have some of the artists I got to know over the years, such as Eric Cloutier, Steven Tang and Eli Verveine appear on the label. I started talking to Shaun and Peter more regularly and started to be involved in some important decision making, they asked me to officially come on board with the label last year. I’d already had A&R experience when working with Melbourne based Pinksilver Records back in 2010-2014 with dub legends Mark Baumann and Lance Harrison, who now run the very successful Primary Colours label. So, I felt confident (and very excited) to take on the new A&R role at NTD. Since i have always been a versatile artist and have produced many styles from Chicago House, to dub-techno and straight-up techno, The parallel of releasing music on both my own label and other labels makes compete sense. If the music I make fits Nightime Drama, i would release it there, otherwise I would release it on the other labels I am affiliated with.
What have you got planned in terms of releases and gigs for the rest of the year?
In terms of releases the next EP I have coming out will be on Nightime Drama in collaboration with Steven Tang with remixes from Daniela La Luz and Basic Soul Unit. I have also been working on a techno inspired EP with Eric Cloutier and another EP with rising talent, Q-Zen from Sydney. Gig wise, i have been booked to play for the wonderful Dirty Flirty crew again and have a couple Nightime Drama events coming up also. One event at my fav techno club, Bunk3r and the other at my fav local club, Tokyo Sing Song (more info coming soon). All the other gigs haven’t been announced as yet so I can’t say too much, but I’ll be quite busy over the next few months.
What are you planning for your Bunker set at Lounge? Why?
I’ll be DJing as I’ve spent weeks sourcing new tunes while I was in Berlin. Ill see what the crowd is up for but hoping they might be in the mood for new techno and I even may play a few of my upcoming releases.