№ 141 - Broshuda

With a strong Fluxus-inspired approach, his work moves sinuously between visual art and sound. In his music, that same spirit translates into sophisticated sketches that both reveal and obscure their inner logic—carrying a wide range of carefully distilled emotions via styles like ambient, downtempo, experimental, and electronics. Active in the global underground since the early 2010s, he steadily released albums and EPs across vinyl, tape, and digital formats on respected labels like Haunter Records, Psychic Liberation, NoCorner, and Soda Gong. 

He is also active as a vivid radio broadcaster, with guest mixes and residencies at stations and platforms such as NTS, LYL Radio, Cashmere Radio, Dublab, Rinse FM, and Noods. Besides making music, he is also producing soundtracks and compositions for radio plays, documentaries, films, and a musical composition for an Acousmonium. As a live performer, Broshuda has played internationally across cultural venues, art spaces, and immersive club settings like Haus der Kulturen der Welt in Berlin, Forest Limit & Bacon in Tokyo, Berghain’s Säule, The Waiting Room, and The Royal Academy of Arts in London, Macao in Milan, or Damás in Lisbon, to name but a few.

To celebrate the launch of the collaborative PANKU collection by EDWIN and Broshuda, EDWIN MUSIC CHANNEL brings a one-hour mix that underlines his love for flux musical storytelling beyond the standard with a sonic journey that unites peculiar melodies, eccentric grooves, and all that haunting white noise into a gripping musical voyage that stays edgy while swinging catchy. The mix also celebrates the opening night of Broshuda’s pop-up solo exhibition “Asemic Intent” at Berlin’s Refuge Worldwide spaces, his visual art alongside live performances and DJ sets by Justin, Popon, Seven Sisters, and Broshuda & Yata DSP.

As ever, the latest EDWIN MUSIC CHANNEL edition comes along with an extensive interview. Read below what Broshuda reveals about his production methods, his early creative days, his views on the role of an artist, and the people who influenced his special way of creating musical and visual art.

Q. How did you first get into music and visual art?

A. Hmmm, to be honest, I can´t quite remember, for art it was probably Kindergarten or even before, I´ve been drawing most of my life basically. The actual „making music’’ part came a bit later, from when I was around 21, I guess, after a dedicated period of intense music listening throughout my teenage years.

Q. Where are you currently based, and how does the place influence your work? Are you part of a local artistic or musical community?

A. I´m currently based in Milan - I first came there to play at Macao in 2016 and have been coming and going ever since, mainly due to the strong community in Milan and throughout Italy in general. I´m intertwined with a lovely group of people pushing things forward massively through a collective vehicle / self-organised institution called C3. I recently had the chance to produce an EP on a sound system in a collective space for the first time, instead of working on headphones (which I love), so that massively shifted my perception and direction of my own sound for that project.

Q. How would you describe your musical style to someone unfamiliar with your work?

A. Heavyweight Non-Ambient Steppers for the real global fantasmagoric gazement massive.

Q. Since 2014, you released as Broshuda and through pseudonyms like No Vacancy or YATA DSP numerous tapes, two vinyl LPs, and a 7-inch on labels like Sonic Router, Psychic Liberation X Enmossed, NoCorner, Plaque, Haunter Records, or Soda Gong. What does a label need to gain your trust?

A.  Good and clean communication, a bit of promo. When I started out I did this record with Sonic Router in 2015 and Oli Marlow (big shout) was working for Fabric at the time, so the mailing list for the release was quite huge - James Blake got a promo for example, Dusk and Blackdown, Mumdance, Mary Ann Hobbs and a bunch of other main UK heads picked up on it - obviously those days are somewhat gone, but it´s nice to think back to ten years ago with music media still functioning just a tiny bit better than nowadays, haha. I´m not really involved in too much promotion like that anymore, so if we can make a nicely designed and heartfelt music release together without any drama or other nonsense involved, I´d say let´s go! I´ve had my share of bad experiences with labels over the years, so my tolerance for bullshit is extremely low - I still make tons of music though, so feel free to reach out if you think you can hang, thanks.

Q. Many of your productions blend ambient, downtempo, experimental, and electronic. How do you decide on the direction for a new piece?

A. It depends on which kind of setup I´m using - the ingredients and overall feeling of the piece kind of decide by themselves, I just guide my recordings like a mad shepherd to reach a collective goal we then agree on. I mostly work on several tracks in the same project file before splitting things up for further refinement, so there´s always a lot of variations and different takes floating about.

Q. What are some recurring themes or ideas you explore through sound?

A. Memory, language, loss, collective consciousness, and spiritualism.

Q. Do you have specific tools or hardware/software you rely on in your compositions?

A. There is a core set up with changing coordinates that grew and mutated over the years - mostly Samplers and Keyboards, effect chains, random gear that might be in circulation, multiple Yamaha bits, first Gen Octatrack & 404, a couple computer programs, a big stash of cassette and general recordings scattered across different mediums etc -  but yeah, I have a go-to recording and working method that is fluid & fresh enough and suits me very well, I enjoy it a lot.

Q. How has your sound evolved over the years?

A.  Since I started out around 2010, there have been main motifs and topics in my music that haven´t really changed that much, I feel - they might be expressed through varying instrumentation and changing equipment, but the main messages remain intact and unbothered for the most part. Of course, new topics also emerge over time, and my expanding interests spill into the mix - it´s a constantly shifting thing, obviously, but yeah, all over I feel it´s hard to say since it´s in such a steady flux. A little / a lot / not at all / drastically.

Q. How do you approach collaborations with other musicians? What makes a good collaborative partner?

A.  It´s very intuitive. If they're stern non-musicians and like to jam, we take things from there. They can also be like my dear friend Elia Pastori in our collaborative project Precisione Della Notte, and completely grill it on the world-class free improvised jazz drumming, and that´s also fine with me. I welcome all musical and non-musical qualities if the human behind it is down-to-earth and has a good sense of humour.

Q. Can you describe a collaborative project that changed the way you work?

A. Writing e-mails with Toby Feltwell.

Q. Do you consider yourself more of a live performer or a DJ?

A. I´ve been touring for about ten years by now, mostly for live performances, so I reckon I´m probably perceived by most as that. On the other hand, there´s also about 50 mixes I´ve done online, from radio sessions to mixtapes to live improvisations, etc, so listeners can basically choose their own adventure.

Q. You’re also active as a graphic artist - how did that part of your practice begin?

A. When I was about six years old, my mother´s friend started sending me down issues of her son´s Club Nintendo magazines, cutting out NES characters to play with.

Q. Were there any formative experiences or mentors who shaped this artistic path?

A. Too many to name, blessings be to every one of them, both situations and individuals.

Q. What visual artists or movements have influenced your graphic work?

A. Outsider Art. Pop Art. Fluxus. Hip-Hop. Beuys, Rammellzee, Futura, Jodorowsky, Skateboarding, Kosmische music, Orthodox church. No Wave. Garfield. Thomas Baldischwyler. Rene Wagner. Theo Böttger. Thomas Hirschhorn, Bernard Stein.

Q. Do you see your visual and musical identities as intertwined or separate?

A.  I don´t really see too much separation whatsoever; it all stems from the same source in the end, so there is just a minuscule distinction, if even. I might split off some of the finer art-related dwellings to another alias or my real name eventually, but yeah, all in the same family.

Q. What role does fashion or textile design play in your broader artistic vision?

A. It´s a nice outlet for my visual art and a great exercise on many levels, it keeps things fresh for me and it´s lovely to see my graphics applied to clever pieces and people being able to enjoy them that way.

Q. What does the name “Broshuda” mean to you, and where did it come from?

A. This one, a lot of people know already, so I´m not putting the full story out there. People can have their own theories, it´s more fun that way.

Q. What are some future projects or directions you're excited about?

A. More bits and pieces in the fashion realm for 2026 - mostly Japan-centred, C.E & Loose Joints for spring / summer. A string of new releases on various formats, playing live, touring Japan again this October and just generally keeping busy and pushing forward in all kinds of directions with the people around me, that´s the main trajectory.

Q. How do you see your role as an artist shifting over time?

A.  Somewhat even more quasi didactic in parts and more performative/interruptive & explicit, probably returning full time to polite battle rapping as well. More Flux than ever, also louder and more intense on the muzik tip.

Q. What’s your favourite person to follow on Instagram?

A. Probably some account that posts Opossum or Pidgeon content.

Q. How do you manage digital distractions (like social media)?

A.  Don´t really pay it too much mind, it´s fun, but also not. I´d be fine with MySpace.

Q. How do you define “real” connection in a digital age?

A.  I´m a pretty no-nonsense but also jokester kind of character, so I tend to intensify most interactions and connections to the point where it either becomes too „real“ for the other person and they drop out, or we pop a knot and it´s smooth sailing from there. Real ones.

Q. Are you comfortable with how your data is being used online?

A. They´re all pricks, stop eyeing my JPEGs.

Q. If you could “log off” for a year, would you? Why or why not?

A. Definitely. I remember the time before the internet so I´d just go back to normal. I never used a mobile phone much „back in the day“, so the constant availability has always felt really against my basic human nature and rubbed me the wrong way. It´s quite farcical.

Q. What kind of social situations energise you, and which ones drain you?

A.  Drain: American-style Smalltalk. Energiser: Good clean banter. 

Q. How do you usually unwind after a long day?

A. Utilising the Jazz.

Join us at Niemetzstraße 1, Berlin, for the launch of the collaborative Panku collection this Thursday from 5-10 PM.

RSVP HERE

N° 141 – Broshdua – track list

Black To Comm  - Amateur
Torn Hawk - To Miss The Mark
Vtgnike - Badboy (Trippin´ In Bali Mix)
The Hers - I Took On Petro So The Church Got Rubbed Out
DJ Hotel -  Jan 5th 13
KRS One & Charlemagne Palestine & Bing & Ruth & Huerco S. - Bleached Kyber Blend
Höhenstunk - Fratar
Broshuda - Gliemling / Terre Thaemlitz & Andrew Pekler Blend
Revolutions - B£ams & Hello Skinny
Broshuda - Modulation Stash
Dan Bodan - Aaron
John C Lilly - Cogitate Loop
Nah Teeth - Dem Hunger
HBArpCrystalExcerpt - Wapu Wapu (Broshuda & Hairi)
Broshuda - DMV Live Edit
Die Nadeln (NYN, Sloushy, Zarrt & Broshuda) - Untitled Jam Berlin 2K22 Edi
Claude Speeed Feat. LW - Hold On
The Erotic Message - 1991
Broshuda - Deft
Jam City - B.A.D.
Loa Mauna - Path Ov Andi
Stockwerk Null - Massive Clown
Broshuda - Live At Gottschalkstrasse 31 Excerpt
Broshuda  - San Diego Carcass (WIP)
Gnesis - Pear
Broshuda - Untitled Realm