Working with Gesaffelstein on many, many projects, and being on tour with him of course, it had to be working on Yeezus with Kanye that was one of the highlights of the collaborative projects I’ve worked on in the studio. When you meet someone it’s going to be different if you like each other, then you can actually share music, taste, and opinion. For me it’s bringing people in that I love and that I want to work with, but first things first, it’s a human relationship that’s going to make the change. More recently of course, the album because I had a chance to collaborate with Myd from Club Cheval, and also people like Peewee Longway, Bricc Baby Shitro, Bloody Jay, Young Scooter, Slim Thug, Louisahhh and many, many others.
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From the beginning with “Bad Runner ” I always had people around me, helping me, and teaching me how to do things, and also when there’s people I want to collaborate with I always find the studio time way more rich when I’m with people. I would say that every project that I worked on is a collaborative project anyway because I’m always bringing people in. What was your favorite collaborative project? You’ve always been a big collaborator and worked on projects with producers and DJs like your friend and label mate Gesaffelstein, Theophilus London, Daft Punk, and Kanye West. Maybe even going further than that and still working with people that I appreciate a lot especially in the ATL scene and the newer ATL scene like Johnny Cinco, Bankroll Fresh, and all these rappers that I wanna work with, and I wanna bring them in the clubs that we are playing at now. Now it’s like how can we get in the studio with Gucci or Future and actually realize what we wanna do. Getting Peewee Longway to work on crazy music or Bloody Jay, that’s already what we do. The album is just another step in the process of what I want to do in the next 10-15 years, which is working with the people I love and making them go through many, many, many changes of what we love in music and opening the spectrum of what we like.
It was more than just a purpose, it was more than just an album for me, it was an amazing experience. So I took my time being in the studio and working with rappers. So I chose to do Brava, and I started working on it, and it took me a while because I’m touring every weekend still. So then I start incorporating one song, and then two songs, and then three, and then I was like why not just remix them and make them the way I wanna do it because no one else is doing it the exact way I want to make it happen? That was the first time I really considered doing an album. I never really decided it, but after a while I realized that I didn’t want to play just electronic music in the club but also rap music. It took me like four or five years, and I’m still learning how to do it. What made you decide to start incorporating and now heavily featuring hip-hop and rap in your productions? Halfway through his tour, Brodinski talked with us about the creation of the album, Kanye’s crash course, and what’s planned for the future. In those two weeks he’s played large festivals like Distortion, Movement, Parklife, and has even partnered with Boiler Room for his record label Bromance’s takeover party. He has a carefree demeanor, though in the past two weeks he’s cloud-hopped among Detroit, Denmark, Greece, the UK, Paris, D.C., and now New York.
Later on tonight, he has an open-to-close set at Brooklyn’s Output. Louis Rogé, comes to visit Complex’s headquarters. It’s a summer afternoon in Midtown Manhattan when Brodinski, a.k.a. Brodinski has been touring the album since April and is set to wind down in September. This March he released his debut album, Brava, which featured visceral street lyrics from the likes of Peewee Longway, iLOVEMAKONNEN, and Slim Thug alongside Berlin-esque electronic elements, hence the whole trap-no thing. Then in 2013, he brought his talents to Kanye West’s Yeezus, receiving co-production credits alongside his label mate Gesaffelstein on “Black Skinhead” and “Send It Up.” He and his manager, Manu Barron, started the label Bromance in 2011, and since then, the label has released projects from Danny Brown, Kaytranada, and Brodinski’s hometown homies Club Cheval. While working on his signature sound, Brodinksi has also worked behind the scenes for others. As of late the Paris-based DJ/producer has taken on a sound all his own, infusing trap gods like Chi-Town’s SD and ATL’s presently incarcerated Bloody Jay with techno. He’s hit milestones most electronic DJs chase all their lives like having the honor of dropping a FabricLive mix or headlining a Boiler Room set. When you hear the name Brodinski, it rings a bell as well as a slew of other sounds in the realm of electronic music.
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