The very first time I heard his music, I was totally into it,” recalls Justin Carter, one of the residents at the Yard’s Sunday Best! bash. “I started playing every single one of his tracks, as much as I could. His music is a hybrid of so many things; it’s got a boogie element, it’s got a disco element, it’s got a soul element, it’s got an element of chunky Detroit house, and he blends them together in a way that isn’t at all obvious. It’s incredibly subtle, yet really grabbing stuff.” Carter isn’t talking about some wizened Motor City cat like Moodymann—instead, he’s referring to a 27-year-old production neophyte from Manchester, England, named David Wolstencroft.
Working under the name Trus’me, Wolstencroft, who’s spinning at Sunday Best! this weekend (with a warm-up gig at APT on Friday 6) has become a hero to those who worship the sort of deep, soulful and meaningful music of veteran artists like Moodymann and Theo Parrish, two producers with whom he’s been compared. And Trus’me has done so on the strength of a mere handful of releases, culminating with the stunning Working Nights LP earlier this year on the Fat City label. Not bad for someone whose debut single, “Narda,” was released only a year ago, and who describes himself as “a white guy who listens to a lot of indie.”
Trus’me’s M.O. is to weave a tangle of samples from soul, disco, soundtracks and world records; anchor them to live drum, bass and keys; and manipulate those sounds into a near-psychedelic swirl. Working Nights’ second track, “Drilling,” serves as a good introduction to his template: Starting with African chants and Latin percussion layered over a midtempo beat, it then introduces elements like a synth-bass reminiscent of Imagination’s “Just an Illusion,” jazzy Rhodes piano keys, rhythm-and-blues vocal snippets, organ blasts and something that sounds like out-of-tune slack-key guitar, all fading in and out of the mix. It sounds messy on paper, but in reality it’s funky, hypnotic and supremely confident.
- Bruce Tantum (Time Out New York)
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