Italo Sound Comes To Dubai. Interview With Otto Kraanen, Bordello A Parigi

by Alexandra Mansilla

Italo Sound Comes To Dubai. Interview With Otto Kraanen, Bordello A Parigi

4 May 2025

Anyone even slightly immersed in the music world — especially anything connected to vinyl or the hunt for rare, unique sounds — knows about Bordello A Parigi, the Amsterdam-based label (though really, it is much more than just a label) created as a celebration of the Italo disco sound. Founded in 2011, it has since grown beyond a label into a record store, a bar (Bordello Aperitivo; save the location), a shop, and a distribution hub.

And now, something truly special is about to happen for all music lovers in Dubai: on May 17, Bordello A Parigi will land in Dubai for the very first time, teaming up with Vinyl Souk at the beloved 25hours Hotel Central to throw a groundbreaking Italo Disco night! And look at the lineup: Bordello Soundsystem, Pawel Blot, Hani J and Tommy Outside.

We are telling you honestly — you will regret it if you miss this. Grab your tickets and make sure to check out our interview with Otto Kraanen, founder of Bordello A Parigi, before you go.

— Hello Otto! So, in 2011, you launched Bordello A Parigi as a label (though I prefer to call it a concept, since it has grown to include so many things!). First question — and I imagine it is one you hear often — could you tell me about the name?

— The name is a bit random — I get asked about it all the time. I was looking for something Italian, and I had given it a lot of thought. In the end, Bordello A Parigi is actually the Italian title of a French adult film. It is not really connected to the movie itself — I just thought the name was a bit funny, and I liked how it makes people stop and question it. That was the idea: I wanted something a little funky, a little sleazy, but still intriguing.

"Bordello" in Italian has a double meaning — it can mean a brothel, of course, but it also means chaos. And "Parigi" means Paris, which for me adds a kind of more sophisticated twist. So there is this contrast: sleaze and elegance, chaos and beauty. It doesn’t really have a deep meaning beyond that — I just liked the vibe.

I also liked that it sounds a bit cinematic. And it definitely confuses people, which I enjoy. For example, I often get Italian tourists or other visitors walking by the store or our bar, trying to pronounce the name. It always creates funny, slightly awkward moments, which adds to the charm, I guess.

— Before we get into the label itself, I’m really curious — why did you open the store in Amsterdam’s Red Light District?

— To be honest, it wasn’t a conscious decision! Let me tell you the story.

Back in 2011, I started my record label — that was actually the first step I took with Bordello A Parigi. Later on, I also launched my own distribution company, not just to distribute my own records but also to support other labels.

At the time, I had an office in Delft, my hometown. Eventually, I planned to move to Amsterdam and began looking for a new space to continue my distribution work. I was initially searching for a simple office, but then an unexpected opportunity came up — a space that also had the potential to function as a shop.

Opening a record store was never really part of the plan. Of course, it is something you dream about when you are young, especially if you love working with records as much as I do. But I hadn’t seriously considered it. When this shop space became available, I realised I could combine both distribution and retail in one place — and that is how it all started to take shape.

That shop just happened to be in the Red Light District. And since I live right around the corner, it was simply a convenient choice!

— Have you ever thought about moving to a different location? I mean, because of all the fame and the tons of tourists!

— Yes, you are right about the fame and all that! But for me, I’m not really focused on the fact that it is the Red Light District. Of course, it has an effect, but if you look at the area geographically, it is right in the city centre — just a five-minute walk from Central Station. That makes it a really convenient location, both for music tourists and for our regular customers. It is not on the outskirts, so I see it as a real advantage to be here.

That said, we are not located on a main street, so people have to actually look for us. I think that is a good thing — it filters out the casual tourists who are just wandering around. So I think the way we are positioned here works in our favour.

— So, now let’s talk about the label! Could you tell me more about its direction? What kind of talent or artists do you look for?

— The label definitely has a certain identity — some people even talk about a “typical Bordello sound” these days. It is hard to describe in exact terms, but there is a common thread running through the music. A lot of it is rooted in the sound of the ‘80s, particularly disco and Italo disco. It is not just about the genre, but also about the textures — the drum machines, the synthesisers, the atmosphere. Things like the use of the LinnDrum or 808, or even arpeggiated synths — these elements really define the sonic world we are working in.

That said, the catalogue is very diverse. At this point, we have released over 250 records, and while Italo is a strong influence, the label covers a wide range of styles that are connected to that broader sound. It is not limited to one genre — it is more about a shared spirit, a certain aesthetic.

I still work with many returning artists, but I also love discovering and releasing new talent. For me, it is really about the music. There are no strict rules. I just have to feel something — that physical reaction, like goosebumps — that excitement when I hear a track. Sometimes it is music that is a bit niche or experimental, sometimes it is more accessible, but I don’t really think in terms of boundaries. If it fits the vibe and gives me that feeling, then it belongs on the label.

— Can you highlight any artist you have recently found — someone who gave you that “goosebumps” feeling?

— That is a tough question because I always find it hard to pick just one artist, but I can definitely mention someone who has really stood out to me recently — Panthera, a producer from France. He has been making music for quite a while, but it is only in the last few years that his name has really started to gain attention.

I have already released two records from him on the label, and I’m about to release another one just before summer.

What really impressed me about Panthera is that he has such a distinctive sound. There is a signature to his production style — something you can recognise even if you don’t know it is his track. I really admire that in an artist: when their music has a strong personality and a clear identity. That kind of craftsmanship is rare and something I deeply value.

— I have heard from DJs and producers who make Arabic music that they sometimes get frustrated because now it feels like everyone is making Arabic-influenced tracks, and a lot of it doesn’t feel truly authentic to them. What about Italo disco? Do you feel something similar happening there?

— That is a good question — and a bit of a semantic one for me. When I talk about Italo disco, I’m thinking specifically of disco music from the 1980s that was made in Italy. Nowadays, a lot of music gets labelled as "Italo," but to me, it doesn’t necessarily sound Italian anymore. It is hard to put a label on it, and I think trying to fit music into boxes is always a bit tricky.

That said, when you are running a record store or webshop, you do need to categorise things somehow. About 20 years ago, a new term started circulating — “nu-disco,” or sometimes “neo-Italo” or “neo-disco.” Over time, it has become a very popular genre, with a lot of younger producers entering the scene, really focusing on this sound.

When I started, it was still very niche, but it has definitely grown. I see that as a positive development — this kind of music is close to my heart, so the more people listening to and creating it, the better. I don’t see it becoming overly saturated, either, because it is still a niche genre. It is not made for the mainstream, so I don't think it will cross into that commercial territory in a way that dilutes its identity.

Of course, like with any scene, you have great producers and not-so-great ones. But what excites me is when artists bring in new influences. For example, earlier this year I released a record by Moving Still — he is of Arabic heritage and blends Arabic elements with an Italo kind of sound. I love that kind of crossover — Italo mixed with electro, EBM, house, or something else entirely.

In the end, I don’t really think too much in terms of genres. It just complicates things. For me, it is all about the feeling and the creativity behind the music.

— I was also wondering — launching your niche, Italo sound label back in 2011, must have already been extremely challenging. And opening a physical store in Amsterdam was even more ambitious! Amsterdam back then was absolutely different from what it is now, so it is really interesting to hear how the label has evolved — maybe even in ways that reflect the city’s own development?

— From what I see, the situation goes two ways. My main product — what I sell in the shop, the webshop, and through distribution — is vinyl records. And that market has changed a lot over the years.

If I look at what is happening in Amsterdam, we are honestly quite spoiled. There are so many record stores here, and each one has its own speciality. It is great that we can all coexist and offer something unique. There are also countless events and parties, which speak to the city’s vibrant music culture.

So in one sense, yes — you could say there is a growing interest in vinyl and underground sounds. But at the same time, record sales have actually become more challenging. Many DJs are switching to digital, especially in a place like Amsterdam, where the DJ scene is huge. A lot of DJs live here, and digital formats are simply more practical for many of them.

That shift isn’t really in favour of what I do, because records are becoming more expensive — they are turning into luxury products. That is a challenge.

But where I do see growth is on the event side. I have found space for what I do in Amsterdam's party scene, even alongside the dominant techno and house culture. There is definitely a market for a different sound — the one represented by the DJs and producers on my label, and by others working in a similar space. That keeps things moving forward.

— And now Bordello A Parigi is heading to Dubai to collaborate with Vinyl Souk and organise the incredible Italo Disco night! How did that come about?

— So, this actually came about through a DJ named Pawel Blot. He splits his time between Poland and Dubai. I was playing at one of his parties when he started telling me about the scene in Dubai and the events he has involved with there. He suggested the idea of doing a Bordello party in Dubai, and I said, “Yeah, sure — go ahead, let’s see if there’s interest.”

Things moved pretty fast after that. And now it is really happening!

— This will be something completely new — both for Dubai and for Bordello A Parigi, right?

— Yes, that is true! This is one of the rare times anyone in the UAE is hosting a proper Italo Disco event. And it will also be my first time in Dubai, so I’m beyond excited.

I have already heard great things about the Vinyl Souk event series and the people behind it. There is also a real alternative electronic music scene growing there, which is really exciting. At the same time, I have all kinds of ideas and expectations — but honestly, the more I think about it, the more curious I become. I’m going into it with an open mind, ready to experience it firsthand.

— I have two additional questions — more for the imagination, if I may say so. What does Amsterdam sound like to you?

— From here, it is the sound of trolley wheels, plus tourists walking and talking all around!

— And what about any place in Italy?

— It is hard to choose just one city here! But for me, the ultimate Italo experience isn’t necessarily tied to a specific place. If I close my eyes and just listen to the music, it should be somewhere by the sea.

In the 1980s, several clubs along the coast became legendary for their distinctive Italo sound. Many of them were near Rimini, for example, places where the sea breeze mixed with synth lines and drum machines. That vibe really defines the feeling for me.

I love Italy for its diversity — every city has its own unique atmosphere, its own smell, its own sound. But if I had to imagine the perfect setting for this music, it would definitely be somewhere close to the beach, with the sound of the sea in the background.

by Alexandra Mansilla