Label Love #20: Golf Channel


Phil South has a label we rather like… it is called Golf Channel. You may have heard of it. 

It has released a plethora of most excellent pieces of aural excitement committed to very heavyweight wax. It is by all accounts a real label of love… Phil is a fine upstanding gentleman with one thing on his mind; quality. Everything that pours from its unceasing release schedule fountain has been of the utmost quality. But you don't need us to tell you that.  What you do need to know is all about the label… for that we need Phil. Phil can you tell us some good stuff so I can stop waffling on here.

Oh and shall we just get that ace mix on he did for us a few weeks ago too? Right then let's do that. 

Where are you now?

This place called Narrowsburg, it’s on the border between Pennsylvania on the Delaware River. It’s really beautiful up here.

What drew you there?

It’s just very cheap house prices and there’s a good school nearby for the kids. It’s crazy, my friend just bought the house down the road from us, it’s like 9 acres, for $120,000.

$120,000?? Wow.

Yeah, what’s that like £50,000? Around that at the current exchange anyway. Maybe 60/70 but 2 hours outside London, you can’t really picture that anywhere really.

I think the whole of London is starting to eat itself whole. Kids aren’t moving here anymore because they can’t…

That’s right, you just can’t! It’s the same with New York you know. There needs to be some sort of sponsorship for creative types. Everyone’s so easy to hate on the hipster but they’ve done wonders for so many neighborhoods.

Exactly. And that’s not going to continue because there’s nowhere cheap in London or New York is there. It’s a good thing in a way though. Places like Bristol, Sheffield, and Manchester are all great cities. Bristol is pretty much the coolest city in the UK at the moment and I think it’s good that the power is wrenched from London’s insipid claws at times. I don’t know, I was watching a program about Scottish Devolution the other day and I’m thinking that it’s almost a good thing. The Scots should just get out whilst they can…

I’m sort of on the fence about the whole thing. Part of me feels a bit sad, but it’s not my decision.

I guess my girlfriend says that I’ve got a vested interest because I’m half Scottish but I don’t know, it’s spilt personalities I guess. I think that sort of thing is a good thing in terms of kids choosing to go elsewhere in the country which I think is a good thing because London has been too powerful for too long.  But I'm talking too much now. A question to you, how do you run a label from there? How does that work?

It doesn’t really effect that at all you know, I have a much better post office here. (Laughs) The post offices in Brooklyn were like… Some pretty funny shit went on there. But everything I do… I manufacture records on the West Coast; I ship them to the distributors. It’s just phone calls and emails and stuff like that. The only thing that I guess is slightly difficult is handing out records, but I still have a place in the city and I go in every now and again and meet up with people and hand out records.. I’m not so hands on though, you know like dishing out the records myself to the stores and all that kind of stuff. Just because accounting wise it’s too much. So I just rely on distributors to do that. People always ask me like ‘Where can I get your record in New York’ and I’m just like, ‘Well hopefully the record store will fucking order a load off the distributor.’  It’s kind of difficult like that New York, but that doesn’t make any difference to me being there or not.

You don’t do mail order yourself then?

I can’t, I can barely keep up as it is you know.

Yeah yeah.

I’d love to set up a Bandcamp. You make decent bank doing it that way as well I think because you can sell like 100 copies at retail prices, and it’s a great thing for people. But I just can’t. I’ve got so many other commitments and I just can’t devote that much time to it because it doesn’t pay any money.

So this is really a labour of love to you isn’t it?

Yeah, but I’m desperately trying to turn things into a little bit more concrete than that. But yeah, right now it is. It’s so hard though, because on paper everything kind of makes money. Records cost X Hundred and sell for Y, and then you take that and split it with the artist. But I’m constantly chasing my tail sinking money back into things like an Amex bill for 20 grand just from mastering a bunch of shit and then pressing shit and making sleeves. Maybe I’m doing stuff that’s like 3/4 months down the line but it means I never have readies in there to pay artists and all those kind of things. Everyone’s being very patient with me though and I think I’m quite good about being transparent but at the same time I feel bad when people are waiting two years or whatever. At the end of the day, 3/400 dollars here, 3/400 dollar there, it’s not really what they’re in it for either. It’s not like I’m keeping food from babies, by being slow to pay the artists.

It’s more of a lead into gigs etc.

Yeah, certainly for the artists. I’m trying to make it more financially viable but you’ve got to come up with by-products and things like that. I’ve got a bunch of LP projects scheduled which will hopefully kind of.. I don’t know, we’ll see. But we’re going to do real PR drives and all that kind of stuff and try and be very professional about it. Hopefully then people might sit up and begin to take notice outside of the fan base that already exists. Which is good and everything, I love it, but I just feel like it’d be nice to kind of get onto a bit of mainstream radar somehow.

And then you can start to get into the things that really begin to make you money like syncs and all that kind of stuff.

Yeah, I’ve been doing a bunch of that stuff. That’s actually quite lucky for me because I have this day job, which is actually working for my wife, at a photo agent. Photographers now have to make these videos for online and they all need music so I’ve been doing a bunch of that and a load of similar labels around the world have given me access to their catalogue to offer up for syncs and things like that.


So that’s one way I’m trying to make shit happen. But we’ll see.

Can you tell us a little bit about Golf Channel and what the original blueprints for the label were?

God, a wing and a prayer! I really didn’t know what the fuck I was doing. Carlos who did the Whatever We Want, that was a big inspiration for me, just seeing the way that he operated with his kind of old school roster investing in albums and trying to be a bit more heavy weight at first, rather than just punting out 12” kind of thing. But at the same time, the first few years was just do the edits or whatever, it wasn’t really a grand scheme. I’ve always admired that thing of a label with a nice identity. If you think of Island Records or Factory you know, something like that that kind of has a lot of creative behind it but almost operates in a major way. Do you know what I mean?

Yeah yeah, I know exactly what you mean.

I definitely try and work with people on the long-term basis. It might not be completely exclusive or whatever but I like to, lets say, Juju & Jordash have got this 4 part epic thing hopefully with a dvd and this kind of stuff after it. For me it’s be really frustrating to put out in album and have that be it you know? I really enjoy the A&R and the development side of things. I think that’s why I like doing it the most.

Like your relationship with Milo (DJ Nature). The evolution, you can see it through the records.

Yeah, for me that’s the fun thing. That’s always what I’ve liked as a fan of music I guess. You’ve got such and a such bands that were killing it in 1974 and they did 3 albums that were killer, I’ve always loved that kind of thing. And I love albums man, like I sometime hear people, even proper heads, saying that they’re more of a singles guy, but for me I can just randomly think of a classic Jungle Brothers album or Check Your Head. Check Your Head sounds like it must have been the best album ever to make. How exciting it would have been to be part of that.

Proper albums. The whole thing was about constructing something that wasn’t just a collection of singles.

Building the basketball hoop in the studio and shit like that, it’s pretty cool. That’s definitely a big driving force for me, just that classic rock mentality I guess. But not rock, there’s beautiful jazz albums from the 70’s and shit like that.

You've stopped mailing out white labels haven't you? I remember those days when those really heavy duty packages used to drop through the office door, literally. We'd get all excited! 

Yeah. I can’t do it anymore; I had to stop just because it kind of got to pretty extreme levels.

I was gonna say!

It was just so time consuming. And also the postage rates went up. For me to post a record to the UK would cost something like $50 or something crazy. Last year I sent out a batch of promos, at the very start 0f 2013, with the Spike album and a couple of other things. The Spike album didn’t come out until I think November, and it was just this crazy lag and I started to realise it was almost self-defeating. People were buzzing about it and excited and it took me so long to get my shit together for various different reasons and personal shit going on, so I just had to draw a line n the sand and be like I can’t do this anymore. I think if I had a millionaire benefactor and was able to run the label however I wanted, I think it’s still the best promotional tool that you could do, sending someone a record.


Because like you say, I can’t listen to shit on the computer. Fannying around trying to plug it in and then I’d start looking at Facebook or something.

And then you end up just listening to it through your laptop speakers and you end up really hating yourself.

And on soundcloud I flick to the bit where it goes quiet and see what comes after that, but then I guess that’s how you buy records in the shop. I can’t think of one really good experience that I’ve had listening to the files where I’ve though ‘Oh Man!’ If I do like a file though I’ll ask them for a record to listen to, or I’ll go buy a record, and then I won’t listen to the shit until I can put it on the stereo and actually really listen to it.

In terms of A&Ring for you now, how do you A&R anything these days?

I think it’s nice, I don’t really listen to demo’s, well the random ones anyway. I’ve got this new project called Cherry Garcia, which is John from Seahawks, I think it could actually be both the Seahawks guys and Simon Ruffdug. With Simon we’ve just been emailing backwards and forwards since his first record, kind of mutual fans.

What a nice bloke Simon is.

Yeah lovely guy. And with John, they licensed like the second single for one of their Milky Disco things, the Ghost Note record, and then I’ve been in touch with them for the syncing and stuff, and it just happens fairly organically like that really. Like they’ll just say ‘Oh check this out, we made this and thought of you’ and if I like it I normally get back and just say like ‘What’s the plan with the rest of it? Can we have a couple of singles and then an album?’ or something like that. That’s kind of how that one came about.

A lot of it is just existing stuff. People will pass friends, like if you said ‘Oh Phil, I thought you’d really like this track’ I would listen to it. Like Alex Voices introduced me to the Africaine guys, I was kind of a fan already but then he was the one that sent me the Lagos track. It’s the same as buying records. You know which ones are going to at least peak your interest and have a listen to them. I’m really up on new music and stuff but it’s stuff to my taste. It’s the same with what comes through the door demo wise. You know if you get, for example, an Idjut Boys demo and some random Russian dude’s demo come through, you’re going to listen to the Idjut Boys one.

It’s a difficult one, and there are so many labels now. But how would one go about starting a label now? You have to pay for everything now to build a presence, like Facebook or whatever. 

People seem to be still popping up. I mean, thinking of something like Palms Trax, they’re burning ahead. They’ve got 4 or 5 12’s out, but it’s a good strong identity and a nice buzz about their releases and they did it in a pretty traditional way. I guess it helps that the guy works at Christina or whatever so there’s that kind of thing already, but it’s quite a level playing field I think in terms of starting a label.

I’m thinking more in terms of a vinyl label… You know what. It’s a shit question, lets forget it and move on!


Okay, let's talk about Nature then, how did you two hook up?

My old friend Nick Griffiths who used to live in New York, was friends with him. We did a few parties together Nick and I when he lived in New York. We were kind of kindred souls and he got Milo to DJ a couple of them and then I think it was a couple of years later when I’d literally just started the label in a bit of a wing and prayer style and he got in touch and I was just like ‘Great, that’s perfect!’ I wasn’t really fully aware of all the Nature Boy stuff from the 90’s at the time but as soon as I put out people were like ‘oh damn, we’ve been waiting for so long for him to make new music’, so it was nice to tap into that. Even though it was a little bit unwittingly on my part I guess. So that’s how that came about, just him DJing at the parties.

A nice happy accident! So, why do you not have Soundcloud?

Oh, I hate it. I mean, for me it’s just the lowest of the low way to listen to music. Just flicking through those waveforms… I really should push it, but it’s just a question of time I think a little bit for me. Having to upload the entire backlog and it’s just a little bit dis-spiriting to be honest. I do actually have one but it’s only got like 20 followers or something. I put it up for the Spike album as I was trying to be all professional about it and wanted to send a link to journalists and stuff, so there is a tiny one.

Oh I didn’t know that, I was looking for it before we called.

It’s like User 754329. It does say Golf Channel on it… If you look up the Spike it’s on there.


There’s a couple of DJ mixes up there as well. It’s just not something I do. I probably should do Spotify and shit like that. I don’t know, I just don’t have time to put all the backlog up there and I think it’s a lot more satisfying that you can wang something on Facebook and everyone’s excited, you know? Whereas I feel I’d have to really work on the soundcloud promotion angle for it to make any sense. It’s just languishing there in the back burner. One day. It sucks but it’s a necessary evil I think.

Yeah. So you don’t rely on your legion of interns doing all of this for you, that’s good to know.

I actually have got this intern guy but he’s in the city and we keep planning on talking one day and shit gets in the way and it never ends up happening. All this stuff will come I think. Eventually.

This might be a difficult one. Can you name any key releases on other label that were instrumental in you starting Golf Channel?

I would definitely say Whatever We Want, that was a pretty big inspiration to see how people got so excited about the records and the roster thing. I’m good with new stuff, I listen to a lot a of new music, I do try and keep up. There are tons of inspirational stuff though, like the Reissue guys, Music From Memory or Invisible City, Aficionado. I like a lot of that modern boogie styles, there’s that Omega Supreme label, I like that one. Palms Trax is another one. I think as a business model, I would say that RVNG is a big inspiration. He’s just relentless man.

It’s just fucking amazing. The stuff that he keeps putting out, you’re just like ‘Wow, where the hell is all of this coming from?’

We’re kind of buddies and I love quizzing him on it. I’ve always loved to have a bit of a bounce off with people in a similar position, or on a domino level. One day that’s really where I’d love to see myself in the future. I think he’s a lot more dedicated to it, I’m a family guy with a day job and responsibilities, so I just chip into it where I can. I work hard at it but I’m not quite there with it all like he is. They’re blazing a good trail.

It’s great, hats off to them definitely. On the stripped back site that you have, you do downloads with every…

Just the LP’s. I figured if you want to buy it, it’s only what, $2. Just go buy it. I know Clone does it, but I never download the file of the record that I’ve bought off them. I guess it’s handy for travelling DJ usb types. Maybe I should but again it’s a question of time. I think for LP’s there’s really no excuse to not give a download code these days. I get a bit bummed about it as a punter because half the time you’re going to be listening to it is when you’re on your way to work or in the car. You’re not always sat in front of the stereo speakers when you want to be listening to music. Album format really is the one for that but flicking through shit loads of 12” on my iPod is never going to happen. I think people can just buy the file easy enough, most people just write to me! I’m pretty shit at having gone from being the most pro-active promo sender outer of physical, but now I’m actually pretty rubbish at sending out digital files… So… People ask if they can be added to my promo board and I just tell them to write to me and I’ll send them it. It seems to work out pretty well. Also then I think people actually want to get it and are excited.

So you don’t promo stuff anymore really?

It’s partly because my thing is that I don’t really listen to the Fat Drops and sometimes I do but a lot of the time it’s very unsatisfactory way of doing it.

It’s not a very conducive way of enjoying music is it.

No, it feels like work. Sometimes I’m like "Oh I shouldn’t really be listening to this now, I’ve got all this other stuff I should be getting on with.’ When it’s like ‘Ah, the kids are in bed, there’s nothing to do. Lets go listen to some tunes and relax.’ That’s the way to do it because it’s fun. It’s why I started to do this shit in the first place!

Having to go to a record store is a far more enjoyable thing and I think that’s why they’re still surviving. Like Kristina and Stuart Patterson's new place which has just opened up down the road.

That I Love Vinyl place?

Yeah! That’s going really well. It's healthy.

I think people have just got to embrace a little bit of the old models as well. I think there’s a habit of ‘Hey I’ve just opened a store, can I buy from you direct?’ And it’s just like, no not really because I’m going to charge the same price as my distributor, but I might even pump it up a bit because it’s direct. It’ll take me 2 weeks to get to the post office. People should not be adverse to dealing with distributors and stuff like that. It all makes everything healthy.

I think the upsurge in vinyl is going to be a good thing. In terms of hardware, more people have record players. II was talking to someone earlier and it doesn’t mean that labels are selling more records, but you might be able to buy that Beatles re-issue on nice re-mastered vinyl. But I think that’s got to be a good thing. It means that as a format its weathered everything that there is to weather and it’s the best one that there is so it’s going to stick around, which is nice!

Do you sell out of most of your presses?

Sell out?


Pretty much! I’m quite careful, there have been a couple in the past where I’ve still got some stock on, the more experimental releases. I mean, I sold X of the last one, and they will eventually sell… I’m just a bit more careful now. I’ll just order the number that the distributors want plus maybe 100 or so extra and then if I can I’ll press more. But I’d rather that way than end up with a bunch of stock and that’s just money left on the shelf.

Sales are not bad. I think I sell more than a lot of record labels but it’s still nothing much to write home about.

As you say, it’s a labour of love.

I desperately want it to become something more than that. I think my big LP drive, which is coming the end of this year and early next. I’ve got 6 or 7 LP’s lined up.

Which have got potential to kick things off?

I think so yeah! Working with Gala Drop again, doing their album. They’re very professional and the two guys that are the band leaders, or self managers or whatever, they both work in the industry, they know loads of people, they know who to send stuff too. It’s kind of like working with a PR team. We just have to make sure we have really solid distribution behind it and press and all the rest of it. I’ve learnt a lot of my mistakes from putting out the Spike album in a very mom and pop style. More pop style though, no mum. Just me. I was so convinced that it was going to cross over. Anyone I play that record to loves it. So I just thought that was how shit happens, it’s going to cross over. But you’ve got to just really play the game when it comes to LP’s. Get deep into the belly of the beast and into the cogs of the industry. There’s a certain way these things work. Although it did well, in terms of how weirdo independent LP’s do. But I thought it would do better…

They never go how you want them too though.

Yeah, the ones that sell are just the one sided edit with nothing on the label or anything. And that just sells and sells and sells. (Laughs)

If you could release any album in history on Golf Channel what would it be? And is there anything that you’d have done differently with the record? That’s a big question, you might have to think about that one.

Yeah, blimey! Just off the top of my head, there are probably hundreds, but lets say Places and Spaces by Donald Byrd. It’s just such a beautiful coming together of like, I love that whole Mizell Brothers sound, but I think for me that’s one of my favourites by those guys. The artwork is sumptuous to look at and just to look at the record you know what it’s going to sound like. It’s just that thing of having a bunch of really fucking talented musicians and producers and 2” tape and all that sexy stuff.

It’s good stuff.

That would be one for sure. Or some kind of awesome sprawling double LP like Check You Head or  Exile on Main St., some shit like that. Just really obvious classic stuff. Places and Spaces is a good one, just because of the musicianship and it’s such a bygone era. Just that you could make a living by being a session musician. The kind of guys that dotted themselves around the 70’s jazz funk trails. I think it’s a Golden Era kind of thing. Sadly now it’s not really an option for people anymore.

Shame…. Golf Channel, what does the name mean?

Oh god. It’s a silly story really. When I was at college with my friend Dan Woodford, I just asked him what he’d call a record label and he came up with a name based on, I think he’d read like a profile or something on the Wu Tang and we just thought it was so weird that there was a Golf Channel and even weirder still that they’re sat in their house glued to the golf channel, which just seemed so incongruous and funny. So it was kind of that but now I’m of an age where friends of mine play golf. It’s quite a normal thing to fuck off at the weekend and spend 7 hour going round the golf course, having a drink with your friends and all the rest of it. If I ever do something like that, it’s go play records for 7 hours! So it’s channeling my golf, in a way! 

Great! Do you think the current climate within the music industry helps or hinders independent labels?

I’m trying to think of a time that it did help really… I think it would have been a lot harder to be an independent label in the 80’s when the NME top 50 indie came out every week and you were top of the indie charts. Then you’re talking about a lot of competition. I think now it’s quite easy to do the 300 copy thing. I think it’s kind of a pussy move and a bit bullshit with the whole super limited thing. But then I guess at the same time it does build a bit of a buzz and if you’ve got a decent product and all the rest of it, it’s quite an easy time to put music out as an independent and kind of get noticed. You only really need support from a couple of key players and then it’s like, ‘Oh, Harvey played it’ and then you’re kind of away you know.


But that’s just down to your own connections and all the rest of it. I think if you’re committed enough that’s quite easy to do. So I would say, helps.


Yeah, I’m going with helps. 

So let's talk about the future and anything else you want to go over…

Next up is the debut release from local hero Dan Selzer who runs Acute records and is one of New York’s most respected DJ’s. It’s called New York Endless, and people are very excited about this record: 

Due out the same week is the new one from The Rhythm Odyssey & Dr Dunks (Dean Meredith & Eric Duncan), a tough no nonsense club banger:

Then the Mind Fair album is very soon which we’re really excited about and we’ve got a really good edit 12” to go with that, with 2 x 12’s by them in stores now, I think I sent them to you right? Just recently, they’ll be in there somewhere. There’s the Gala Drop album out soon too.

Yeah, thank you! 

So those two are coming and another Central Executives single almost, they’re working on that.  Africaine will hopefully have another 12 before the end of the year and then an LP next year. Same with Project E.  The Project E stuff is so next level. I was listening to the mix Mark did for Test Pressing and I was like ‘Oh this is so where my head is at with music’. Then I found out that one of my favorite tracks off the mix is actually a Project E one, off the forthcoming album that he’s doing with me – which is really exciting.

The Gala Drop is actually pretty interesting because they’ve teamed up with this guy, Jerry The Cat. He had a record out on sound signature, old Detroit kind of legend dude. He played percussion with Parliament Funkadelic and collaborated with Derrick May. He moved to Lisbon and ended up playing percussion with the guys, then they found out he sang! So he’s sung on 3 or 4 of their tracks, it’s a really big progression for their sound. I think it’s got a lot of broad appeal which is really cool.

We’ve got the Mangiami compilation coming up which is all original material. We did 3 edit 12’s, so the original material is a nice flipside to that. Spike Remix album eventually, I’ve got to get that all sorted as I keep putting it on the backburner. But I’ve got a bunch of really good remixes for that. There are a bunch of releases from DJ Spun and Jonah Sharp who have called themselves The Loose Control Band. It’s this great mishmash of early acid-house, classic house and then like old-school breaks. Spun’s background is kind of in that, the warehouse west coast scene. The first one is about to come out and there are a few more tracks to follow, but that’s a nice long-term one.

I think that’s about it… Oh, Apiento, that’s pressing.

Oh right, Paul’s doing something!

We’ve got one that will be out in a couple of months and he’s committed to a few releases with me, which will be fun I think.  I think that’s about it, hang on I’ll have a look on my little document. I’ve got this really nice licensed edit of an old reggae track coming out.

Oh yeah?

Sheila Hylton. A pop hit, almost a bit Dawn Penn vibes. On the back of that I’ve signed these other guys, LGK, who are Robbie Busch aka DJ McBoingBoing and Josh Dunn who you might know from his website 100 limousines. They’re deep deep heavy diggers. Robbie makes a living from digging and reselling records on Ebay and the like, and Josh is this really massive Soul, Disco, House head who has loads of crazy rare records… But anyway, they sent me the music they made together and it’s just this fucking nasty filter house ghetto vibes almost. And they’re actually both quite mild guys. But that’s pretty fun, LGK that’s called.

With dj nature we’re going to work towards this big DJ Milo LP but that’s a few years down the line. He’s got some quite big collaborators on the vocals but he wants to go full string quartet with it and everything. It’s quite a way off yet but it’s going to be tough getting the funds together for that… Hopefully we can really pull it off though and give him the help that he deserves.

So that’s just as Milo, not as Nature?

Yeah, that’s the idea there. He likes to have things in compartments like that. It’ll be a bit different to his Nature stuff. The Nature stuff has been a good foundation for him to spring off of.

You might have to get a Soundcloud for that! 

Yeah maybe! User567

Catchy title!

I know. What else have we got? More from the Rhythm Odyssey and Dunks, they just keep chugging one or two out a year.

Shit loads basically!

Yeah, shit loads! It’s good though. It’s what makes me slightly relaxed, looking down this list of numbers seeing that I’ve got X amount of months covered.

Any Golf Channel related events or anything like that?

I’m just gonna try and get into the swing of things as we had this great little party in New York called No Ordinary Monkey which gave birth to label in the first place. But we’ve only done one this year and that was back in February. I’m just older and busier so it’s hard. The one in February, I’ve got to say, was one of my favourite DJ experiences of my life. It was this new loft in Bushwick. I made everyone RSVP and get tickets and when I got there I was looking down the list of 100 or so people thinking ‘I know almost everyone on this list’ and I was so excited to see all my friends playing loads of records till like 7 in the morning. Everyone just had an amazing time.


When it happens it’s really really fun. It takes up a week of my time on one side though, nervously prepping records and all the rest of it and then a few days on the other side recovering. It’s just not a very popular move in family life if we put it that way.

I can’t really tour either… It’s like I’m Justin V or someone, who can go and stay with a mate in Berlin for a month and do a bunch of European gigs. I can barely get away for the weekend. Ideally you want a week between each gig to do nice things and check out some record stores and all that stuff. It’s just not really an option for me.

Maybe you could bring the family to Garden Festival next year or something?

Yeah maybe, I’ve been chatting with Dave about it. I know it’s the last one and he’s already mentioned the boat party word to me. A few years back I did it with Electric, moon boots got me on the boat with him and it supposed to him and Jason but Jason overslept or something and missed the boat. So it was me, Moon Boots and Terje. That was just amazing, so much fun. They’re just nice grown up, mellow affairs and people just really love the music.

Controlled raving.

Yeah, controlled raving! It’ll happen, but I need to focus on the label aspect of things now just purely because of my situation. If I can turn things around financially then it’ll take pressure off and I’ll be able to, in turn, travel a bit and DJ and things like that. Because I love doing it and that came well before doing any of the label stuff you know.

Well keep us posted as we’ll support you on any of that! Just to close things off:



party. friends. ambitious. eclectic. surprises!


(See Throughout)


Whatever We Want, Factory, Island, Curtom, Atlantic.


I’d love to have a band like brightblack morning light and take them out raving with spiked drinks then have them make a country rock LP with Thomas Bullock on production. 

Some heavy psychedelic future soul made by people who really understand classic and modern dance music.
A modern day Can.


I want to remind people how sacred music is.

Need to know more?