“Inspiration and forward thinking out of necessity” – Leo Silverman
Meet Brille, the scruffy haired, sneaker wearing teenager of A+R mogul Leo Silverman of XL Recordings fame. Established in 2004 and residing in a pulsating pocket of East London, Brille is dancing proof that at the very core of indie music remains an indie record label. Named partially for it’s obscurity and partially in tribute to the Brill Building in New York, the name Brille was selected from a list of original words complied by it’s founding members, for reasons that include it’s nonexistent meaning, it’s “kind of” cool sound, and it’s challenging pronunciation.
Simply stated, Brille provide the much-needed piggyback ride for a mere handful of acts in the UK. Said to be more impressed with a dirty pint glass than the majority of bands in the UK, Silverman’s selections of talent, on the surface, share little in common. And indeed, the Brille club is an exclusive one that started with the signing of Swedish/French band Envelopes in 2004. The three other bands in their little black book of artists include merch-mustering indie-popper’s Good Shoes who Brille signed in November 2005, crow-faced dance duo The Knife and their latest claim to chart soaring fame, Australia’s Operator Please.
Ideally, in terms of genre, Brille represent a rather mismatched conglomerate of artists, from the gang vocals and belty punk of Good Shoes to the quirky gripes and pop melodies of The Knife. Though claiming to ONLY represent acts that omit a “touch of magic”, Brille appear to be comfortable riding in the back seat of each artists rise to popularity, reinstalling that central value indie music places in the artist. From the very beginning, Brille has acted as facilitator rather than sculptor; famously supplying Envelope’s with the freedom, means and money to produce their debut Album Demon, 2006.
Brille provide the much-needed piggyback ride for a mere handful of acts in the UK
Though the artists that Brille represent might not be known to all, they are utterly adored by the fans that do know them, and so Brille have come to be recognised within indie circles as a label that represents quality above notoriety. Though the debut album from Brit-boys Good Shoes which was released in March 2007 has seen Brille’s efforts edge further into mainstream ears, it’s the debut release from Australian pop-tartlets Operator Please Yes, Yes, Vindictive looks most likely to thrust this label into the Radio1 listener spotlight.
