It’s always cool when labels are run by artists. Not only can the artist run the label how they’d want a label to be run, but it gives you another way to support your favorite artist.
Take Black Pomade‘s Manzo Edits, for example. The Italian-born and New York-based DJ launched Manzo Edits as a vinyl-only label, something we’ve been seeing less and less of. All the music that you’ll hear on Manzo Edits sounds a lot like what you’ll hear Black Pomade release on his own project: retro-themed house-y beats with updated production that would sound right at home on a vinyl player.
And, just last week, the fifth installment of the Manzo Edits series went live. Black Pomade features on the last track alongside Saks&Teip, while the other three tracks feature production from Khemir, Sparkling Attitude, and SCASSO. While it’s not quite available on streaming quite yet, trust us when we say that you should consider grabbing the vinyl if you’ve got a player. It’s groovy, disco-house bliss throughout the entire tracklist. Black Pomade’s artistic vision shines through here, as every track is sonically cohesive with the next. It’s a truly impressive package.
We had the chance to sit down with Black Pomade to celebrate Manzo Edits Vol. 5. Read on to see what he has to say about his upbringing, his supporters, and advice he would give to the next generation of producers.
Where did you grow up, and how did your environment shape your relationship with music?
I grew up just outside Milan, in the suburbs, and managed to catch the last echoes of Italy’s clubbing golden era. Every town had a club, and they were packed more often than not. You could walk into a venue in some random provincial city and find a real underground party going on. These days, some young kids and their local crews are still trying to hold it down, but it’s mostly DIY stuff and they’re lucky if a couple hundred people show up.
Back then, house music felt like part of everyday culture. It wasn’t some niche underground thing. There were radio shows dedicated to it, sections in music shops, club flyers all over town. To me as a kid, it looked like this world reserved for grown ups where all the cool stuff was happening. I would stay up late listening to anything I could get my hands on, trying to piece it all together and dreaming of the day I’d finally step into a club.
Who was the most influential person in your life growing up in terms of your musical development?
My family wasn’t into music in any serious way, so I don’t have the usual story about an uncle with a killer record collection. My dad stuck to classical stuff, and my mom had her cheesy favorites on while she cleaned the house. But the real spark probably came from a neighbor kid who lived across the street. We shared the same obsessions, from video games to electronic music. We’d spend afternoons dancing around pretending we were in a club. Later on, when we were 15, we even threw our first party in the back room of a karaoke bar. Our lives took different paths and we’re not that close anymore, but I still wonder if I would’ve gone this deep into music without having that shared connection early on.
What’s the first memory you have of making music?
Someone gave me this PlayStation game called Music 2000. It was basically a stripped down sequencer packed with pre-made loops and sounds. I spent hours on it making weird Italo dance tracks. It felt powerful, like I was building something from nothing. I’ve lost all those files, but I’d actually be curious to hear what ten year old me thought was a banger.
When you think back to your earliest projects, what’s something you would do differently now?
A lot. I’m constantly tweaking and evolving, so most of that old stuff doesn’t hold up for me. I’m still proud of it, but I rarely play it out. If I had to pick one thing, I’d say I was trying to cram too many ideas into a single track. Now I know better. Stripping things down often gives a track more impact than adding layers on layers.
Why do you think persistence is such an important part of making it in the music industry?
Because nobody’s waiting for you. No one owes you a career. You’ll have times when everything flows and the gigs come easy, and others when nothing seems to land. People follow trends and scenes shift fast. If you’re not consistent, it’s easy to disappear. Moving to New York made this even more clear. It’s a competitive scene, so staying visible and sharp is everything. The only way to survive is to keep going even when things feel quiet. The pendulum will swing back.
What’s the most unexpected lesson you’ve learned throughout your career?
Honestly, it’s a tough and kind of depressing lesson, but being nice in this industry can work against you. First, because plenty of people will take advantage. And second, because perception is everything. Whether or not you get booked often comes down to how people see you, and the moment you come across as too available, your value drops. That was hard for me to accept because I’m naturally friendly and eager to get involved. But I’ve had to learn to be more careful with my energy and reserve my full self for a small circle of people who actually deserve it.
What’s a key piece of advice you would give to your younger self at the start of your journey?
Immerse yourself in music every day. Even when it feels pointless. Even when you’re tired or uninspired. Getting really good takes time and discipline. You won’t make progress by only working when you feel like it. You make progress by showing up no matter what.
Who’s been your biggest supporter throughout your career, and what’s their impact been on your success?
Patricia, my wife. She’s made a lot of sacrifices to let me chase this, and I’m grateful she believes in what I’m building. She’s got her own creative work too and we support each other fully. We even collaborate sometimes, which makes it all the more rewarding.
Order the Manzo Edits Vol. 5 vinyl here!
The post Manzo Edits Label Head Black Pomade Speaks with Magnetic Magazine to Celebrate Label’s Newest Sampler appeared first on Magnetic Magazine.