HEADS KNOW TAPE 023: BRUX
An interview and DJ mix from the Brooklyn-based producer, songwriter, vocalist, and DJ.
Photo: Jessica Licata
HEADS KNOW TAPES is our mix and interview series, curated to introduce you to the most exciting innovators, selectors, and artists from New York City and beyond.
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You don’t need to look hard for BRUX, which is ironic for someone who was once an anonymous artist. One day she’ll be opening for Nia Archives at a pop-up show at a park, the next she’ll be closing for Justice in a warehouse; you can even find her spinning on a rooftop for a friend’s intimate function. No matter how big or small the event may be, BRUX beams behind the decks every time—and she makes it look easy.
Her effortless swagger comes from a lengthy relationship with electronic music. At only 6 years old, her older brother began producing and DJing (he went on to become the artist Hook N Sling) and introduced her to the genre. She decided then she wanted to follow suit.
But there was life before BRUX. The Sydney-born artist, whose real name is Elizabeth Maniscalco, performed as a pop artist called Elizabeth Rose since 2010. After six years of making commercialized music, Maniscalco sought more experimentation and less boundaries. In 2016, BRUX was born.
The transition to club music wasn’t immediate. BRUX first thrived in the EDM scene, getting signed to labels like Steve Aoki’s Dim Mak Records and Zeds Dead’s Deadbeats. Both pop and EDM still influence her sound today, but she uses the formulaic nature of the genres to her advantage, resulting in catchy, nostalgia-inducing club music.
Roll BRUX’s tape to hear an hour of booty-shaking grooves and read on to learn about her love of R&B classics, why she revealed her identity, and her secrets to manifestation.
I appreciate you agreeing to make a tape because I'm sure you're so busy… You're having an insane year, so congratulations! What's one thing that happened that you're still reeling over?
Thank you! I’m still reeling over closing for Justice at their sold out Brooklyn show here back in July… It was insane.
In 2022, you said at the height of your career, you "see myself touring the globe, collaborating with my favorite artists and idols and feeling content, living authentically." You really manifested that shit because for a while, I felt like I saw you in the studio, on a lineup, or collaborating with well-respected artists every other week. "Networking" has a stigma in the music industry because of the rarity and importance of perceived authenticity, but from your involvement in the local scene and our interactions, you've been—and continue to be—genuine and supportive, which I personally think has contributed to your (deserved) success. Do you have any advice on how an artist can make connections upwards and laterally without getting lost in the pageantry?
Thank you so much, that means a lot. I forgot I said that, but it goes to show that manifesting really does work… honestly. At the start of every month, I write out a list of things I want to bring in for that upcoming month as if it’s already happened. I’ve lost count of how many specific manifestations have come to life. So my advice—plain & simple—talent only gets you so far, it’s both talent AND kindness that really gets you places.
Speaking of pageantry—you were kind of pushing the opposite of that since the beginning with launching the BRUX project anonymously. Any regrets or revelations since revealing your identity over lockdown?
No regrets! But, I will say that, in retrospect looking back, it kind of all happened so poetically… I definitely didn’t plan it that way. Coming out of the shadows during a global pandemic, I think, was my cry for help—I needed and wanted to be heard AND seen because of needing to connect to my audience in a deeper way. Disguising myself didn’t allow for full authentic connection with fans (tbh also a life lesson in every sense). I felt so much better for truly showing myself. It emancipated me in a way. I felt I was able to get to a deeper level in my artistry. It feels great to own my identity and push forward with more confidence.
Photos: Jessica Licata
During that time, you also moved away from making clean-cut EDM to instead produce grittier club music because you missed partying. What was your first stop when everything reopened and how did it feel getting back on the dancefloor?
I have fond memories of a club show I played with The Presets during that time—albeit a bit strange as the audience was restricted to seating and was distanced. But I remember the euphoric feeling I had hearing the audience react to the gritty club demos I was testing out for the first time and that were made in lockdown over zoom ("BADBOI"). Pure adrenaline.
A lot of your recent releases interpolate '90s-2000s R&B classics. It's one of the reasons I love your music so much. What draws you to that era of music?
It’s such a nostalgic era for me because that was my childhood. I grew up listening to and idolising so many of the greats—Xtina, Mariah Carey, Whitney Houston, Destiny’s Child, Monica, Mya, Missy Elliot, Aaliyah.. The list goes on. I remember I would buy their singles on CD and record myself singing to the CD's instrumental versions, on tape. I’m glad those tapes of me no longer exist, haha!
“Your ears and musical taste are your secret weapons.”
What's your go-to karaoke song from that time? (Mine is "My Boo" by Usher & Alicia Keys, if you even care!)
Ooh great question… It’s "Say My Name" by Destiny's Child!
Even your recent release is an edit of a song from 2001. It's really bouncy and silly—which kind of also describes you! There seems to be an uptick of women in electronic music who don't project that they take themselves too seriously anymore, which is super fun. I feel like it wasn't that way a few years ago because every femme producer would be rumored to have ghost producers or spin pre-recorded sets. Has there actually been a shift in attitude, or am I missing something?
Hmm, I get what you mean. I guess it depends on the genre, hey. We can’t take ourselves too seriously. Life is too short—have fun, people! We’re on a rock floating through space and the ride ends soon. There’s a time & a place to be serious, of course, but it sucks the life out of the artistry if there’s too much ego and serious attitude in it (I’ve been in writers rooms where that attitude is present & it’s no fun to be around).
The other day, you and I got into a small fake fight recently about DJs and producers, and why or why not DJs should learn how to produce. I understood where you were coming from since I can relate to being somewhere on the confusing spectrum between EDM and the underground electronic music scene. With that being said, I do want to hear your fleshed out and honest take.
It’s an interesting one and it’s complex, hey. I made a post about this very thing months ago on TikTok before we spoke about it and I had some interesting responses from people on what they think. Look, everyone these days is a DJ, which is great. I get it. It’s so much fun and it’s so easy now to access music and curate… But because of this, there’s an oversaturation of supply in the market. Personally, I’m most excited to see my favorite DJs who I know are playing out music that they’ve made. It doesn’t get more original and rare than that… Hearing a new Jamie xx edit played out for the first time by the man himself, testing the waters at 4am in a sweaty basement in Bushwick? Take my money!
Because of this oversaturation, it leaves me (+ a lot of us) wanting & needing more…more than hearing another edit of Flight FM (I’m sorry!) I, of course, have respect for the DJs who are boss curators and are playing sets of deep cuts, but for me as a producer and a DJ, this is something I stand by from personal experience of needing to stand out amongst a sea of cis white male tech house DJs taking up too much space.
Say you've convinced me and I wanted to start producing tomorrow. What's one thing I should know?
You don’t need fancy gear! Your ears and musical taste are your secret weapons.
Thank you for the insight! I feel like you've given me a lot this year—like I got that Machinedrum support slot only because your artist visa was messed up. With the fees skyrocketing 250%, touring in the US seems impossible for international artists. If you could say one thing to the United States Citizenship and Immigration Services, what would it be?
Which artists, DJs, producers, labels, or collectives should heads know?
Some of my fav producers right now are An Avrin, Will Hofbauer, lau.ra, AceMo, [and] Thelma.
Some fav labels of mine are Hessle [Audio], Unknown To The Unknown, Fever AM, [and] Pretty Weird <3
What can we expect from this mix?
A whole lotta booty-shaking grooves and energy.
This interview has been edited for clarity.
Follow BRUX on Bandcamp, Soundcloud, Instagram, TikTok, and Twitter.
TRACKLIST
BRUX - RUNNING WITHOUT BREATHING
Rhyw - Drool
ID - ID
Matsu x Matthew Law - Pressure
BRUX - EMBERS
ID - ID
ID - ID
salute x George Daniel - go! (George Daniel Remix)
Kito feat. St Panther - Die 4 you
Kid Kamillion - Rain Man (BRUX edit)
A-Trak - Jyeah
ID - ID
Villager - Sósia
Alice Longyu Gao feat. Mega Mondoliad - Korean Girls
Baby Keem - Vent (Viperactive remix)
msft. - dontwaiT (Acyan flip)
JIALING x Farsight - Whistle Tip (Farsight flip)
Boys Noize x VTSS - Steady Pace (BRUX remix)
An Avrin - Shining
1tbsp - Oh No
BRUX - Sandwiches
BRUX x Ninajirachi - How Could U (VIP edit)
BRUX feat. TT The Artist - Gravy
Girl Tool - Computation RMX
