Brodinski is a French DJ and producer who has influenced an entire generation of Parisian clubbers and Atlanta rappers.
As the principal resident of Paris’ Social Club in the late 2000s, he stood at the center of a bustling scene that birthed the likes of DJ Mehdi, Gesaffelstein, Ed Banger Records, and his own label, Bromance, which introduced artists like Lousiahhh, Danny Brown, and Kaytranada to a global audience. Now splitting his time between Paris and Atlanta, he continues to shape underground rap and electronic scenes through collaborations with artists like HoodRich Pablo Juan, Lil Reek, and Slimesito.
In celebration of the recent release of his Engine Rumble sample pack on Splice Sounds, we had the unique opportunity to sit down with Brodinski to discuss his sonic identity, production techniques, and more—read on for highlights.
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Brodinski on how he shapes his sound as an artist
How would you describe your sonic identity in your own words?
Brodinski: I’d say my sound is mostly distorted, noisy, and dark. I’m trying to incorporate theses sounds and compose beats for rappers—it’s a fine line, but I’m proof it’s doable [laughs].
You have roots in both France and the United States—how do these geographies respectively influence your sound?
I had the chance to bring my passion on the road and spend quite some time in the United States, and I got hugely influenced by what I heard and worked on during my trips, especially the ones to Atlanta. Between there and Paris, I’m trying to bring my own sauce and electronic influences to the table and propose something different to rappers!
What’s your favorite tool for making music at the moment?
My favorite tool would be the dictaphone app on my phone. I record all kinds of sounds with it: trains, alarms, street noises, friends or family members talking, etc. Then, I transform them into more weird noises and glitches with different plugins, and include them in my music here and there.
Do you have any specific production techniques, hardware, or plugins you rely on to achieve your distinctive grit and distortion?
I use any distortion tool I can and try new plugins all the time; tapes and guitar pedals also make the cut. I rarely use hardware—only when I have access to it, and if I do, I tend to record a lot, stash material, and use it later on, recycling loops over and over.
Brodinski on sharing his sounds with the producer community
Tell us about the experience of creating your sample pack—how did it differ from producing full tracks or live sets?
I wanted to bring my universe into this pack, and it actually took me some time to figure it out. But, once I got into it, I had a lot of fun bringing this together. The process was a positive experience as I tried new techniques to bring sounds to life—in a way, it’s more liberating than working on tracks or more concrete pieces of music. It’s also pretty cool to create sounds that people may use in their future creations.
Are there specific sounds within the pack that you’re particularly proud of? Can you break down how they were made?
If you listen to the noises and the vocal samples, most of them where recorded through my phone and modified within my DAW with different effects and tapes to bring them to life. People who know me will recognize my voice here and there too. I’m also proud of the 808s; I was really careful with trying to bring a unique flavor to each of them.
Is there anything else you’d like to share with the Splice community?
I would just be honored if the producers of the Splice community use these sounds and create music with them—music that I would have never even thought of, probably, and that’s what I’m here for. I can’t wait to hear how theses sounds will coexist with different influences and genres as well.
Incorporate Brodinski’s hard-hitting sounds into your own productions:
January 21, 2026
