BILL PATRICK | Cleveland, OH | Fri June 4

[headrushmusic]

Friday, June 4

The HeadRush Music Summer Series, Part 2

BILL PATRICK (112 Crew, Arc)

HeadRush Music personally encountered Bill Patrick at The Miami Winter Music Conference in March 2003. We found Bill on the Terrace at Space. Playing after banging sets by Mauro Picotto and Marco Carola, we never thought we'd have the energy to go on. Not only did we stay 'til close, we would never forget. In fact, Bill's performance that morning remains one of the best DJ sets we have ever heard.

Being a resident DJ at New York City's Arc with legends Danny Tenaglia and Danny Howells would probably be enough for most DJs. But not for Bill.

In less than five years of DJing, Bill Patrick has played gigs from Mexico City, Costa Rica, Chile, Buenos Aires, and on to Spain, Italy, England, Finland, Norway, and Germany.

He headlined a 3000-person event in Mar Del Plata, Argentina alongside living legend Ricardo Villalobos.

He's landed three dream gigs in Ibiza, including a main-floor slot at the legendary "We Love" party at Space, and two remarkable performances at Circo Loco and at DC-10, which then landed him gigs at Circo Loco in Rome and Rimini.

No techno DJ's dream would be complete without a set in the legendary techno club Tresor in Berlin. His dream came true on New Year's Eve 2004. What a night!

It's no wonder he has caught the eye of many world class DJ's such as Lee Burridge and Danny Howells, who mentioned him as "The Best Undiscovered DJ" in DJ Mag's 2003 Top 100 issue.

Bill Patrick's love and dedication for the music have been the driving forces behind his rapid success. We share his love and hope you will, too!

with additional sets by:

deviant (headrush music, toes in the sand recordings)

jason soditch (cloud 9 resident)

cloud 9

1299 west 9th street

warehouse district, cleveland, ohio

friday june 4 :: 9p-4a

21+ :: $10 at door

pre-sale tickets by credit card at http://www.groovetickets.com

http://www.headrushmusic.com

http://www.112crew.com

http://www.arcspace.net

[headrushmusic]

Exclusive interview with Bill Patrick:

The 112 Crew seems to be doing it for a lot of people these days. Who's doing it for you?

Three has been one of the most consistent DJs out there. Same with Lee and Craig. The stuff that Richie Hawtin is doing blows my mind. His DJ sets have broken new ground with the addition of Final Scratch, Abelton and Cycloops (and a shit load of other stuff that I don't know). He continuously sets the standard for DJing today. The Alphahouse crew in St. Louis are on top of their game as well! Techno snobs and cow-tipping enthusiast's Andrew Rasse, Joe Thomas, and Scaught are ones to look out for. I got a chance to witness Ricardo Villalobos, Luciano and Dandy Jack play together in Argentina this year. That was a great experience. They had something like four turntables, 3 laptops, effects, and a live vocalist. INSANE! But when all is said and done, Tommy Amoroso, Matt Licata and Dennis Rodgers (the 112 Crew) are the ones that keep me on point and out in the shops digging each week.

Describe how tech-house, techno and progressive house differ and are the same to you -- and do you think everyone holds the same definitions?

I used to be all up in that "labeling music" business. But I've learned it is useless. I could care less what you want to call it. Some people say I play prog, others say it's minimal techno or house. It's all up for interpretation. If it means a kid who worships Sasha is gonna come out to hear me play because he heard I play progressive and walks away from my set with a whole new musical experience than I'm happy. I guess one of the main reasons I dropped that whole labeling thing is because I had no clue what to call the music I was playing anymore. I just found out the breaky stuff I'm into is called Electro. That's nice.

As a guy who seems to play from many different genres and morphs them into a new creation, why is it you think there are so many people who stand firmly behind their genre barricade, never willing to branch out and innovate? Why aren't more people experimenting? Or are they, and am I just oblivious to it?

It's crazy, I think a lot of these DJ's are so concerned with trends and what's hot that they latch onto a sound to try and be the big hit of the moment. I see these mixes out there and they actually call them "My Tech House Mix" or "Minimal Techno Mix." It's funny. They go out and buy the whole Kompakt and Morris Audio catalogue and think they are on top of the game. So then you have a DJ who believes "minimal techno" is the way to go but won't buy a dope deep house record cus it's not from Germany. I also think alot of people become so protective of their sound. Which is just as bad. They won't budge. They play their tribal drums or their Swag records and that's all they want to hear. It just gets very boring and monotonous. It's like only having one speed and that's it. As a DJ you are constantly put in different situations at gigs and have to be ready for anything. If you walk into a club with 5 people dancing, you are not gonna play some big tribal prog record, or if there are 2000 people, you don't do a whole set of minimal stuff. It all comes down to confidence. If you hear a record that is good...buy it, and play it. Don't worry so much if it's a certain style or where it's from. At the end of the day, you will either learn to mix it up a bit or continue to play in your bedroom or maybe get the occasional lounge gig and bitch about how nobody "gets it." I get it. You're boring.

How was the party this past weekend with Three in Tampa? We're having him out at the end of June.

WICKED! Three has a great thing going in Tampa. He owns that city and he's been a staple in that scene and the US scene for years. Snatch is a great party and they have had some amazing talent such as Josh Wink, Felix Da Housekat, and Lil Louie Vega, so I was really honored to have been asked to play. The crowd was up for it and the night went off really well.

Do you produce? What kinds of stuff? If not, why not?

I just started mixing it up in the studio with fellow 112'er Dennis Rodgers. It's addicting. I plan on jumping in with Hisham Samawi and Dennis one of these days. We're all pretty busy right now with gigs so it's tough to find time to work. But when we do, it easily turns into 12 hour sessions.

Tell us about the thing you have going on with Fabric, London.

Well, I'm playing June 12th on the Tyrant night. It will be my first time playing for Fabric so as you can imagine I am stoked. Hopefully it goes well and I'll be able to play for them again.

When you play, do you have your strategy for reeling in the crowd planned out: hook, line, and sinker -- or do you wing it?

I never really have a strategy. I'm always winging it and feeling the crowd out. I'm confident in the music I play and know that 99% of the time the crowd has never really heard this music. So I go into ever set knowing that musically I am going to turn some heads. I guess you can take that as being cocky but I know I play good music. I think you have to be that way. You have to love the music you are playing and be confident that it is the best music in the world. Or else why play it?

There are some DJ's out there that plan their sets or have a programmed set. How lame is that? I remember at the conference I was at a poolside party and overheard somebody saying the DJ played the same exact set the night before in a club!! Are you that strapped for music that you can't put together a different set for an outside party? It all goes back to branching out musically. I don't think I could play the same set twice if I tried.

Describe your styles as a chill-room DJ (Arcade) versus a headlining set. What can people expect?

The Arcade was a place to experiment more and learn my records. There use to be a big difference in my style of playing back there and headlining. That was back when I wasn't confident enough to play some of the tweakier stuff as a headliner. Now I've managed to incorporate it into my sets and I am much happier for it.

Is it important to you that people dance when you play? How do you get your feedback? (I know that seems weird to ask, but I'm just wondering if Arc side-room time has enabled you to focus on your art rather than selling out on the next track to get a bunch of people on the floor.)

Of course, I want people to dance. That is one of the main reasons why you DJ. A room full of people standing around sucks and are tough to play for. I've played for crowds where nobody dances but then get a bunch of people coming up afterwards raving about the music. So I'm like "Well why didn't you dance then?!" Everyone's different. You get some people that don't give a crap about labels, styles, mixing and all that but just come to the club to dance to good music. Those are the best kind of clubbers. Then there are the chin-strokers that lean against the wall or pole and are waiting to be impressed. Usually those are just jaded old-school kids or DJs that have been playing for 10 years and are pissed at the world because they can't get a gig. I remember I used to always zone in on those kids and they would really get to me. I could have 1000 people going off but I would always find that one twat sitting there with his arms crossed looking at me. Now I see them and I blow kisses to them. That usually confuses or scares them and they leave.

Where are you playing in NYC since Arc has closed?

I just played at Sullivan Room with Hisham which was fun. And I'm playing at Filter 14 sometime in June with Matt Licata. A rooftop party would be interesting. We are hoping to put one together. Other than that, I'm not really doing much in NY right now but we'll see what the summer brings.

How do you like your eggs?

Like my women, sunny side up and covered with chocolate.

Any pets?

I can't figure out how to take care of myself let alone another living being. We did have a mouse in our apartment once.

What does your family think of you becoming a DJ? Isn't every good kid supposed to become a doctor or something?

That's always been a tough one. At first they were 100% not supportive. But now they have slowly become more accepting of what I'm doing. They see me traveling and stuff so they are excited. But they are still concerned. I come from an old-school Italian upbringing so it was a tough one to drop on mom and dad. It's funny because our neighbor in Long Island grew up with Danny Tenaglia so they would tell my parents how famous and successful he is. That gave them a little hope to see that you can succeed in this business, but then they would ask why I wasn't as big as Danny Tenaglia. So it's been a slow process. Like any parents they want to see their kids do well so I understand their concerns.

Is the scene really all the same everywhere you go? How is it different? Be our tour guide...

It's different everywhere. From state to state and country to country. You take a place like NY where you would expect it to be at the forefront and going strong and it is really bad right now. Then there is St. Louis, one of the last places on Earth you would expect to have a kick-ass scene but I can easily say that it's probably my favorite place to play right now. Argentina is another place that always blows my mind. They have a true appreciation for life and it comes through in the parties. The people are amazing and the vibe is out of this world. Italy is great as well. Germany and Tresor (in Berlin) was a lot of fun also. It was New Year's Eve so that helped but I played a few days afterwards at Tresor again and it was jam-packed and going off. Two days after New Year's and people were ready to party again! That's awesome.

http://headrushmusic.com/interviews/bill_patrick_05-2004.htm

See you in Cleveland on June 4!