Brabe is the sound you hear when you're talking about futuristic house and plastic techno music. A sort of onomatopœic reflection of it's own pronunciation, it's chubby and tight, like the made up monosyllabic word itself. It's usually weird, mostly because you haven't heard anything quite like it before, yet deep, both emotionally and intellectually.
Brabe definitely knows how to set the mood. A skilled musician, and even more talented artist, Bram Faber integrates much more into his work than just four-to-the-floor hooks. Ironic concepts and themes of parody are reoccurring in Bram's work, and seem to be more of a comment on contemporary club culture than anything else at times.
Music is in Bram's blood. Born in 1989 into a musical household, Bram was raised by classically trained musicians, and was only five years old when he picked up his first instrument, the violin. Throughout early adolescence, Bram's musical intrigue took hold of many different instruments including the trumpet, piano, and eventually the viola. It wasn't until he tuned into Dave Taylor and Jesse Rose's sounds as a teenager Bram caught house fever.
From then on Bram became addicted, spiraling deeper and deeper into the underground abyss of house music, until one day, good friend René van Munster from the orchestra which they played in encouraged him to have a hand at producing. Together they spawned their first release on the South-African, Down South Music label.
The Brabe sound started to buzz on the web among music junkies and bloggers until his first solo was released on the German, Brickhouse Records. Ever since, the Brabe sound has been celebrated and welcomed into the crates of many DJs including Bart B More, Crookers, HiJack, Ian Pooley, Kissy Sellout, and several others.