The past few years have been momentous for the likes of Louis Brodinski; the 24-year old producer/DJ has been busy taking up many tasks from curating and running a label, to representing a very intensively particular bromantic set of musical principles. The thing is, while Brodinski has meandered through the auspices of big-room publicity and the adulation of the underground and “EDM” cultural figures, he still retains a strong understanding of what good music should be played and what good music should be listened to. Brodinski is a very interesting person to have for our podcast series, because truthfull we didn’t give him much guidance in making it, we just said go “as deep as possible”. The results? A fantastic mix of jacking house, techno and Bromance-related mayhem. Check out Brodinski’s exclusive URB podcast, as well as lengthy interview with him about his label, Bromance, after the jump.
1. Azari & III – Manhooker (Locked Groove’s Escape to NYC Remix) / Turbo
2. Jan Driver – Peaker / Boys Noize Records
3. Point 5 – Feeling Dizzy / CDR
4. Jessie Ware – Wildest Moments (Maddslinky Remix) / PMR
5. Hans Bouffmyhre – Hurricane / 8 Sided Dice
6. L-Vis 1990 – Video Drone / Night Slugs
7. Floorplan – Altered Ego / M-Plant
8. Harvard Bass – Plex (John Roman Remix) / Teenage Riot
9. The Presets – Youth in Trouble (The Finger Prince & Light Year Remix) / Modular
10. Gesaffelstein – Depravity / Bromance
11. Danny Brown – Die Like a Rockstar (Brodinski Remix) / Fool’s Gold
12. Gingy & Bordello – Ausbruch (J Tijn Remix) / Twin Turbo
13. Teeth – Percolator Meme (Lazer Sword Remix) / Sound Pellegrino
14. The Weeknd – What You Need / CDR
15. Nocturnal Sunshine – Meant To Be / K7
16. D’Angelo – Untitled (How Does it Feel) (L-Vis 1990′s Own Way Edit) / CDR
17. The Hundreds in The Hands – Pigeons (Blawan’s Bare Bones Remix) / Warp
URB: First off, congrats on Bromance. It seems like its off to a stunning start. What was the reasoning behind putting the label together, when you and Gessafelstein are obviously doing very well for yourselves at the moment?
BRODINSKI: It’s been a while since I’ve started thinking about putting a label together; I’m a tastemaker but when I love the artist and music massively, I will get really excited and make my excitement upfront, sending it to everyone I know. So, because of that energy, I figured I would start a label and do that exact thing. For a while I was looking for artists, and with Mike (Gessafelstein), it seemed like a right thing to do. Mike is an integral part of it because he is mixing and mastering, it sounds fresh and different. The approach is strictly Bromance. We started in November 2011, with a split 12” from myself and Mike. BROMANCE 004 is Gessafelstein’s “Rise of Depravity”.
URB: When did you realise that you wanted to start the label and what do you hope to do with it in the future as it grows with each release?
B: When I created the label, I wanted to put my music out when I wanted to do it, not deal with other label constrictions; schedules and such. Now, with myself, I can decide what to do which is pretty much amazing. The next release is a Danny Brown EP releasing on August 20th with a Gessafelstein remix. We’re working on some stuff that can be played all-over, not just on dancefloors.
URB: How did you and Gessafelstein meet and what was the “eureka” moment, when you both realised that a label was the right move for the both of you?
B: We met about two and a half years ago at my residency at a club in Paris, and he played his live show which was right up my alley in terms of vibe. We became fast friends after that, and within our talks, we thought the creation of a label was the right move and with my manager, Manu, we knew it was the right group of people to work around.
URB: What would you say are the vibes of anyone who releases on Bromance, sonically?
B: Every time someone asks me what I play in a set, it’s difficult to simplify. it’s just releasing music that I love from all aspects, and most importantly, it’s music that is good.
URB: What’s your take on American dance culture nowadays? Certainly, you have a sizable following and are playing big US festivals to kids raised on a steady diet of electro house and “dubstep”, but you’re obviously presenting a take on club music that is risky to people who are uneducated. Do you think if you play Bromance tunes out that you risk the music going over the crowd’s heads?
B: We are certainly not underground, but we’re not going to just the crowd what they want. We’re going to be right in the middle; but not exactly *laughs*. We’re going to range from Mark Broom to Bauuer, sounds that are so different but it’s not pegged to a certain style or lifestyle. Playing Bromance-related stuff really revolves around friends doing a label for now, it’ll take time and such but I want to be talking this label in five years, telling a story involvingthe music that I loved from day one its inception.
URB: What labels inspired you to consider making your own?
B: Ed Banger Records and Boys Noize Records, everything sounds perfect for the club and perfect for the sound that they cater, it’s not exactly mainstream-oriented. Also, labels like Hotflush and Hemlock; to release music that is consistently amazing. Phantasy and Clone, as well. A record label should be music that one can love, not just for DJs.
URB: What labels should people be on the lookout for, in your opinion?
B: I think people need to not forget about mix CDs, like the Fabric CDs and DJ-Kicks, like recently from Maya Jane Coles. You have to be introduced to the format of a DJ and the multiple styles they go through to really appreciate all forms of music; like something of Andrew Weatherall’s Fabric mix.
photo by Tom Kirkby