Every Wednesday night, Broad City's Ilana and Abbi are back with a new episode on Comedy Central. And with each new episode comes a new soundtrack courtesy of music supervisor Matt FX Feldman. Only 23, yet a veteran at this point after getting his start on Skins, Feldman is responsible for finding the right tunes to accompany Broad City's misadventures. With Season 2 successfully underway, we caught up with Feldman to chat about how he got his start, his role as music supervisor, his new music project and his own musical path from childhood to now (including what it was like to go to high school with Azealia Banks).

How did you embark on the path of being a music supervisor?

Totally by accident, actually. Long story short—I showed Skins to a few friends, one of the friends wound up getting obsessed and working for the creator of the show when he came to the states, and I got invited (as a sort of thank you, I suppose) to come to the 'writers' room', a focus-group type meeting of writers and young adults where we revised plot concepts and helped with slang and colloquialisms.

I asked Bryan [Elsley] whether or not I could even help with the music, thinking I could maybe get an internship or something, and he asked me to make him a mix instead. The next day, he asked me to quit my day job.

How did you get the role on Broad City?

I actually got the role on Broad City directly through one of the guys on Skins! One of the assistant editors over there wound up moving on to Broad City, and he suggested me to the production when they were still figuring out the right fit. It was a pretty similar thing—I was on board within the week.

As a music supervisor, what would you say are your top duties?

Authenticating/elevating a scene, speaking correctly to a scene's emotional tone and context, and staying within budget.

What role do you think music plays within motion picture?

I would personally argue that music is to motion picture what spice is to cooked food.

What's the process on deciding which songs you pick?

Can I afford it? Then it's in the running. Something I've learned along the way is to try to have as much respect for the music that isn't considered 'cool' as the stuff that is. You really never know when something'll work perfectly.

What has your personal musical progression been like (from childhood, teen years to now)?

Oof. My father is a honcho in the classical world—he used to be a conductor, and has founded/creatively directed a handful of orchestras from here [NYC] to Auckland. I actually spent my childhood pretty sheltered, attending a crazy boarding school for professional boy sopranos where I performed in church five times a week... I really only had a handful of albums during those years—the Beatles, N*SYNC, White Stripes, Killers—and it wasn't until high school that my palette really opened up.

I went from St. Thomas Choir School to LaGuardia Music & Art, the NYC public school informally known as the FAME school (also the basis of the movie/TV series). Pretty crazy transition—33 kids to 3300—it was here that I got into hip-hop, electronic stuff, and eventually the DIY Brooklyn indie scene.. Some select memories include Azealia Banks schooling me on rappers and indie bands in freshman year, being the go-to guy for holding the crowd back/a kick drum in place at any number of random DIY shows, and playing my first DJ set to the massive crowd of nine people at the school dance I tried to throw as the senior class president... those were the days, though.

I wound up dropping out of college really early on—actually went to Glasgow to study but wound up realizing I wasn't gonna be happy relearning the same musical concepts for the fourth time in a row no matter how interesting of a city I was living in... besides, as cool as that place is, it's no New York.

Skins found me a year after I'd dropped out—since finishing that show I've spent the last few years throwing parties and DJing around the city a bunch. These are the experiences that really rounded out the electronic side of musical understanding. Since 2010 forward, I've spent a lot of time hanging around producers, studying the dance floor and all it's various sub-genres, and it's really 'cause of these years that I think I was able to flex so hard on Broad City!

What are your tips on how to find the best new music? How does new music find you?

Immerse yourself in a scene, and make friends with people! If 2015 is good for anything, it's good for truly disintegrating the geographical barriers that used to separate like-minded individuals.

From online venue/communities like SPF 420 to groups on Soundcloud and Facebook or even Tumblr and stuff—there are people out there, with music you'd like, that you've never heard before—and guess what? They're happy to share it with you! That's what the music's for.

For the record, Facebook is my personal favorite way of discovering music. Everybody is different though.

You're also making music under the name Scooter Island. How did the project come about?

Scooter Island is the evolution of a shelved former project of mine, in which I'd originally have written, performed, and recorded everything you'd hear on the album.

Sometime after the first season of Broad City I realized I had these demos in my iTunes that producer-friends had sent—tracks they didn't have plans on finishing, even—and that they fit my original aesthetic values, only better! The tracklist to the album hasn't actually changed since the day it was conceived—I remember sitting with my friend Randy (S'natra, a rapper featured on the album) playing him beats, and we actually just sort of put it together right then and there.

With Scooter Island, you're working with a lot of vocalists. How do your collaborations come about and work out? Is there any comparison between your duties as a music supervisor?

I'm proud to take credit here, vision-wise; a lot of the collaborations come from a place of curiosity—how a vocalist might react to a style or tempo they don't normally work in, or with subject matter they're not used to working with.

I feel like it's a similar brain-strand as music supervision, only the opposite process. I dunno—it's weird!

If you could soundtrack your dream scene, what would it be?

I frequently joke around that my dream movies to supervise would be the next Garden State, the next Riddick, and the next Tokyo Drift. I don't even necessarily mean those franchises, as much as those styles of filmmaking!

Broad City airs on Comedy Central Wednesdays at 10:30/9:30c.