Enfnts Terribles

Do you feel a big difference between playing at a festival where you are one of many artists and doing an all-night-long set?

Oh yes, that’s quite the opposite of one other. You’re more limited when you only have an hour or an hour and a half. During shorter sets, it’s more difficult to express what you have in mind, your world, and your identity. We developed the all-night-long concept a year ago. In six to eight hours, I really have the opportunity to share all kinds of sounds that I appreciate. You have the time to construct something coherent and specific, which makes it easier to take people with you in your world. It also feels more intimate and vulnerable. The all-night-long concept is my favorite format, even though it’s way more intense and demands a lot of preparation. You have to do research and crave to put something together that leaves people stunned. So to answer the question: it’s different on many levels. There’s not one necessarily better than the other, and I like to do both.

Is there one specific setting that you prefer?

If you had asked me this question two years ago, I would have said that I prefer playing at festivals. With time passing, and still being quite new to the scene, I really started to appreciate playing at clubs. Sometimes, in clubs with a capacity of 200-300 people, you can have a euphoria in a room that can’t be matched by a festival crowd. I don’t have a big preference for a specific setting because I love doing both. I just know that you feel there’s good energy at the festivals during the summer months.

To give a specific example, at the DOUR Festival last summer, the end of the set was just magical. I had a one-hour set, which went by very fast but was very intense. I played “Désenchantée” by Mylene Farmer and over 15.000 people sang the song at the top of their lungs. It gave me a special feeling, and I felt a lot of pride that I could create such a moment for so many people. I also have a very good memory of playing in German cities like Augsburg and Karlsruhe, where people go crazy.

You’re returning to the DOUR Festival next summer. Is it one of your highlights of the summer because the crowd is so big and the stage is enormous?

I have to admit: the three giant led screens are impressive. When I played there last year, it was so massive and crazy. I haven’t done too many festivals so far, so it’s difficult to compare or already have an absolute favorite, but for now, DOUR is one of the coolest festivals I have done.

You’ve collaborated with our Belgian pride Amelie Lens a couple of times. How did you meet?

I’ve never met her physically, but three-four years ago, I DM’ed her my track, “Millenium Pain”, on Instagram and she responded. Since then, we exchanged a lot about music and the DJ life. She’s a very sincere person, who has an undeniable love for techno. She’s a real example for me and the whole scene because it’s inspiring to see how she build such a career in such a short time. What she contributes to techno as a DJ and with EXHALE is incredible. I’m super excited and honored that I got to release this EP via her label EXHALE, especially with a remix of her of my own song. That’s an absolute achievement for me. I truly hope that this is just the beginning of many more collaborations. I can never thank her enough for all the opportunities she gave me.

Trym will be playing DOUR Festival on Friday, July 14.