Brodinski On Working With Kanye And Challenging The Parameters Of Techno

Rogé’s bio claims he’d “flunk university”, but he took out a diploma to please his “Mama”, working in communications. His studio debut was 2007’s buzz 12”, Bad Runner. Later, Rogé conceived Bromance, now home to his creative partner Gesaffelstein, Club Cheval and, proving it’s no boys club, Louisahhh!!!. He and Gesaffelstein found themselves producing beats alongside Daft Punk for Yeezus – they’re credited on Black Skinhead. Rogé has since contributed to Theophilus London’s slept-on Vibes!.

Today the producer speaks glowingly of West. “I learned a lot from this experience – and it’s one of those experiences that makes me wanna spend some more time in the studio with people I respect.” He was impressed by West’s curiosity. “I feel like he’s not just a rapper – he’s a proper artist and he has a vision. If he asks you a question, it’s because he wants to understand more and know more.” Still, Rogé laughs at the suggestion he played a part in persuading West to possibly permanently relocate to Paris. “I don’t know if it’s because of me – I don’t think so! But, yeah, he put France back on the map in terms of rap and production and music and open-mindedness.”

Brava has a post-Yeezus orientation – a bit techno, a bit hip hop and a lot futuristic punk. Rogé has been influenced by US hip hop offshoots such as drill – cue: the lead single, Can’t Help Myself, featuring Chicago rapper SD – and, from the South, chopped & screwed and trap. Nonetheless, together with Gesaffelstein and Arca, Rogé is also reinventing techno. In 2013 the DJ described his “vision” for the album to Red Bull – he intended to show how “rap music would sound if techno people were doing it.” That holds true. Says Rogé, “I wanted to make an album that was a bit surprising, too – just moving the walls, breaking them and opening the spectrum.” And the Paris-based don wants to just continue challenging himself – “making music that doesn’t sound like anything [else].”