X/Y Coming to a Device Near You


Hi people who are already on the internet. Just a quick post to let you know that X/Y – the first feature I supervised – is coming to VOD this March 6, and the trailer is right above this sentence.

X/Y was written + directed by one of my oldest friends in LA, Ryan Piers Williams. It stars his wife America Ferrara, Melanie Diaz, [Oscar Winner®] Common, John Paul Phillips, Amber Tamblyn, Dree Hemingway, Amber Tamblyn, and more

We were able to place music by Chromatics, Moderat, Kit Grill, Emily Wells, Gauntlet Hair, Luis Flores + Brian Sanhaji (Droid), Rafa Durand Kick, The Defibulators, Wardell, Herman Beeftink, and more.

Oh, and Will Bates of Fall on Your Sword delivered a truly wonderful score (the cue in the trailer, for example). 

So, check out the movie, and let us know what you think.

Interview: Thomas Golubić on Breaking Bad, Walking Dead, Better Call Saul



I recently had the pleasure of sitting down with SuperMusicVision founder Thomas Golubić in advance of the new season of The Walking Dead and the series premiere of Better Call Saul. The interview ran on Playboy and can be found here

However, we weren’t able to publish all of the photos of the SMV office (a work-live treehouse in Silver Lake), so I wanted to include them below. All of the photos were taken by Elis Jolie, and I think they capture the character of the space and the people that populate it.






PP Q+A #2: Phil South

Phil South Justin V

Phil South is a bad dude. Like in the video game Bad Dudes, meaning he’s a good dude. And like Bad Dudes, Mr. South came up hard in the 1980s. Since then, he’s established himself as the charming British ex-pat behind the venerable Golf Channel Recordings and part of the No Ordinary Monkey posse.

His label’s roster is important. DJ Nature, Justin V, Spike, Gala Drop, and Africaine 808 are some of the usual suspects. There’s an affinity for the jazzy, the sunkissed. Dusty-rock. Afro polyrhythms. Anything up to and including the baleric sink. 

There is something very handmade and personal to his aesthetic, at points even feral – from the scraggly party fliers to the analog-leaning records he releases. It doesn’t hurt that he’s a genuinely nice person and has an understated reputation as such. Somehow that’s crept into the music and dj sets as well. 

I recently corresponded with Phil via email about reflections on the past year – where he’s been and where his imprint is headed – as well as movies, sync placements, and disco shenanigans.




PersonPeople: Are you in Upstate New York now? Or out of the city somewhat? How’s family life and do you have a day job outside of the label?


Phil South: Yes indeed, upstate NY. We wanted to make the move while the kids are young enough. I think if we moved them out of Brooklyn when they were teenagers they’d never forgive us.


Family life is great :) I also work with my wife, she is a photo agent as well as trying to sync a bunch of people’s music left and right, including my own.



PP: How did you and Nomad link up? I have a few choice stories about him. Have hung out with him in several countries now. He lived with me for a month in 2008, I believe, in my old art gallery in Silver Lake. He’d paint every day and we’d cook or hang out in the evenings. I also ran into him in Croatia once too, which was great. He and Hunee were there. They were hanging with Beppe Loda.


PS: I only met him for the first time a couple of days ago. I knew he was a character from the emails, but it was great to cement that. He told me one story about a party in echo park….unprintable :)

We were introduced by mutual friend Alex Voices over email, I was already a fan of the Vulkandance tracks and the release on WT. Lagos, New York was just too good. I was sold instantly! We have an LP coming next year and another 12 pretty soon.



PP: What’s up with the rest of Golf Channel’s upcoming release slate?


PS: PLENTY…Right now its the Gala Drop LP “II”, a 12” from Apiento, and one from Payfone. Then we have the new 12 from The Loose Control Band which is just nuts, Mangiami comp, the debut from LGK – raw filter house! Project E LP, Africaine LP, Cherry Garcia, Sheila Hylton….niceness all.


PP: When are you in LA next?


PS: Soon I hope!! Love it out there.


PP: seen any good movies or TV shows recently? Any good scores or music licensing? On that note, how does your catalog do as far as sync stuff?


PS: Under the Skin was a pretty awesome soundtrack. The whole movie was great I thought. As for foolproof 70’s nostalgia Once in a Lifetime doc about the New York Cosmos was great…simple but very effective good time soundtrack. I still think Quentin Tarantino is great at the music thing, though his selections in Django Unchained were not up to his usual standard. Loved the movie though!


We could always use more syncs! It’s the only revenue stream left…this shit is a JOKE!


PP: Do you remember the time you and Justin V were in the Vice Do’s and Don’ts, circa 2008 or something? I loved the look on your faces in that one. Like you knew that this photo was going to get into the wrong hands.


PS: HAHAHA I don’t actually remember it being taken. We look shocking. we had literally just finished setting up for a new years party, there was no one there yet. I’m quite pleased to have made it into the don’ts I have to say, but am also glad not that many people have seen it. Justin summed it up best saying that while the pic itself is hilariously awful, the vice comments were kinda lame like ‘ooh DJs are glorified iPods’ or some bullshit. Normally the don’ts comments are way funnier than that.


PP: the comments are clearly mal-informed (for example: that’s not an iPod; that’s a turntable and rotary mixer), but isn’t that vice’s assumed prerogative? there are, of course, objectively terrible local and touring djs everywhere that do insta-doodle button-pushing whatevers. Most djs aren’t objectively bad. But there are those out there. especially in NY, right? They exist here too. I think it’s cool to be mistaken for average idiots but actually be delivering something not fully idiotic. It’s like the Idjut Boys covers and other red herring lp artwork that is trying to make you think everything inside is garbage. seems like a tried and true edit/balearic tactic. And I mean that lovingly.


Speaking of idiocy, do you remember the time that Chris Cruse and I impersonated you at Electric Elephant in Croatia? That was a gas.


PS: I was mentioning this to Hans! It still makes me chuckle. Why me? Why us? I thought that was a genius move from you guys!!


PP: To answer the questions “why me? why us?” … a few things. One, we were basically the only Americans there. Juan Maclean and maybe that’s it. I think some people probably assumed you were American because you live in New York. Someone, at like 5 in the morning, approached us on our way to bed and said, “Are you Justin V?” and another dude (I think they were from Newcastle) said, “And are you Phil South?” I forgot who they thought was which but go with whatever combination you think is funnier. We said “yes,” even though we were totally rinsed already and stayed up for another 3-4 hours drinking their booze. We bullshitted about the tropes and cliche struggles of running a small label. They bought it. We’re assholes. I think it was me who felt guilty enough to reveal it to them. I think we really confused them in the end.


This was a high/low-light of that period for me.


What was your proudest (music-related) memory of 2014?


PS: The No Ordinary Monkey 10 year anniversary back in February. A room full of good friends, great music & beautiful sound…the perfect night!



PP: What about your favorite release of the past 12 months?


PS: “Wuhti” by Denaji (The DJ Sotofett remix)


PP: What you want to see more of in 2015?


PS: Money


PP: What you want to see less of in 2015?


PS: Debt


You heard the man. More money; less debt. Go spend all your Christmas bonuses on yourself on fine Golf Channel goods wherever good records are sold.

October’s Endless Summer: PP Monthly Mixtape Roundup

PP’s Monthly Mixtape Roundup is where we discuss our favorite mixes from the past 4 weeks. We pick through the webby goo mass of podcasts, radio shows, mixtapes, and anything else we can get our hands on and filter it down to the ones we’ve gone back to for more.

This month, we selected over 10 hours of bizarre, wonderful, emotional, banging, and blissful music, selected and sequenced by people we admire.

Caveat: we don’t hear everything, of course. If you think we are gravely mistaken and have omitted something excellent, please don’t hesitate in letting us know. Now, let’s do the damn thing.


 Mixmag In Session: Oskar Offerman and Edward 


RIYL: Marcel Dettman, Giegling, George St. Geegling, Gil Faizon, Berlin
Best Moment: Tough to decide really as it’s so well mixed, but ‘Floral Ground,’ Things from the Basement’s opener certainly kicks things off on the right foot
Best Comment: “i laveet” So do we!
Could Soundtrackthe Tour De Frankfurt – a long-distance bike tour through the German city’s clubland. 
Why It’s Perfect for October: This shit is off-kilter during a month when the weather is usually making your body do pretty much the same thing (LA notwithstanding – ed.)
Who Else Might Dig It? Anyone shedding a tear at the upcoming closure of Trouw who might be willing to throw open the doors of the home usually occupied by their Dutch secret second family for a late night ragefest.

Better Than: Actually having a second family & almost as good as this 
Made Us Think Of: #TBT to that time they tagteamed in NY a few weeks ago, I was told about it and STILL missed it. But in my defense it was from a Canadian, so, you know…
PP Says: Listen to your friends…even the Canadian ones. Because PersonPeople nevrr make the same mistake twice. NEVRR!


 Antal & Hunee ‘Welcome to Our World’ Redlight Radio 


RIYL: jazz, beats/rhymes/life, vocalese fusion, putting a smile on a cynic’s face, music, bossa nova, piano solos, wylin & smilin
Best Moment: @1:15:00, the track at ~2:04:00 (“c’est porquoi?” Because what the fuck is this shit? That’s why)
Best Comment: “welcome to our world” – Hunee, “core bizznizz”
Could Soundtrack…a Dalmatian Coast boat party, driving from NY to LA
PP Says: Antal Heitlager co-runs Rush Hour, the venerable Dutch record store/record label. Hunee is a world class DJ and collector. They have all the good records. Selection is a given. It squiggles and noodles but in very correct ways. The sequencing and b2b collaboration and worldliness (minus the negative, corny/MBE connotations) make me feel genuinely happy.
Why It’s Perfect for October: Like many of these mixes we pull, we think they’re blooming perennials. But this one comes after a particularly jazzy summer.
Who Else Might Dig It? Human beings who are remotely adventurous


 DJ Harvey London XPress Radio Part 1, 2, 3, & 4 


RIYL: Cryptids, rekkids, lost episodes
Could Soundtrack…a drive up the Hamptons or down the Balkans
Best Moment: While a solipsistic selection, I hadn’t heard the Harvey “Ibiza Sleepy Mix” of Planet Funk’s “Inside All the People” since blogging was the dominant social platform. Cornball space crystals straight to the heart.
Why It’s Perfect for October: It’s almost Christmas again.
Who Else Might Dig It? The mythical 10% EDM runoff crowd

Better Than: Mariah’s Christmas albums.
Made Us Think Of: Giving up and starting over.
PP Says: Technically, this one’s a cheat – a London XPress radio show on XFM from December 2001, the complete recording of which just surfaced this month - but we’re gonna go ahead and count it. Eclectic, classic selections. One can only assume the same records are still enjoyed and given regular play. s/o Test Pressing


 S&T Podcast 14 by Desert Sound Colony 


RIYL: The Asphodells, Scissor & Thread artists, Late Night Tales, psychedelic gender mindbending at 6am in a foreign gully.
Best Moment: The psycho-licious intro, all three original DSC productions, and, of course, any excuse to hear Mirwais’ Breeders-callback ‘Disco Science’.
Best Comment: “Apologies, everyone. There appears to be an issue with the descriptions field and the new layout of Soundcloud. Here is the tracklisting for those interested…” From Scissor & Thread themselves. Funny / not funny.
Could Soundtrack…a K2 mountain climb of the mind
Why It’s Perfect for October: Fall brings necessary changes and so does this mix.
Who Else Might Dig It? People who enjoy going on a ‘journey’ but hate DJs that who claim to take you on one.
Better Than: Oasis?

Made Us Think Of: Our own ‘Aural History’ AAOR which also uses s. maharba’s “Something in the Way She Moves,” leading nicely out of out of Telepopmuzik’s classic “Breathe” and closing the mix out.
PP Says: FOPP (Friend of PersonPeople) Liam Wachs is Scissor & Thread’s newest signing, Desert Sound Colony. Liam enjoys individuals named Veronica, reverb, echo, disco glove TKOs, widening his eyes at random intervals for emphasis, and VIBES.


 Richard Norris In The Mix for Mixmag 


RIYL: acid, warehouses, acid warehouses, fantasy, sound, Phantasy Sound
Best Moment: Unreleased Norris cut ‘Let’s Dance’ and Erol Alkan’s FABRICLIVE 77 exclusive track ‘Sub Conscious’ (Broken-out Wizard’s Sleeve?)
Best Comment: “nice drop …” THANKS BRO!
Could Soundtrack…a long night in a converted tea factory in Norris’ native Lewes, England (trust us, it did).
Why It’s Perfect for October: It’s just a wee bit scary?
Who Else Might Dig It? Recent Norris fans who may have caught Richard giving Interpol’s undercarriage a-bit-of-the-old-how’s-your-father with Mr. Alkan as the mighty Beyond The Wizard Sleeve

Better Than: A Richard Norris face transplant
Made Us Think Of: One of our GOAT psychedelic sets from 2007 recorded live at The G-Mex in Manchester
PP Says: Norris is an all-time PP fave since wayback from his work in The Grid all the way through to his solid live outfit The Time And Space Machine as well as being a one-man enpsychlopedia of trippy music.


 CVS Bangers 3 by Hennessy Youngman 


RIYL: Air horns, machine gun sound FX, NBA Jam voiceover artists, shopping at CVS, Walgreen’s, Duane Reade, Rite Aid, Eckerd’s, K&B (O.G.), poststructuralism
Best Moment: Spandau Ballet into “Set Adrift on Memory Bliss” after the line “neutron dance for a neutron fan” the wacky announcer shouts “what does that even mean?,” asking the question of a generation – or – “kickin down the doors to Valhalla, lookin’ for Elian Gonzalez.”
Best Comment: “Take ‘em to church, Kenny!”
Could Soundtrack…Employee of the Month 2: Maternity Leave starring John Krasinski and Tara Lipinski
Who Else Might Dig It: Your biological mother
Better Than: Ketamine withdrawal, picking the pieces of your life up in a strip mall parking lot
PP Says: Cartoon hat fetishist and art jokester Hennessy Youngman is back at it again for some more loopy pop suburban malaise mayhem. If you want to hear Grace Jones, GnR, Kenny Rogers, Steve Winwood, and P.M. Dawn, this is the mix for you. Also, call your mother more. She’d love to hear from you.


Honorable mentions: Änd Of Summer Ämbient Mix Pt 2, mixED 5 by The Asphodells, Dummy Mix 228 by C.A.R., Mount Kimbie DJ Mix October 2014

That Time I Ate a Salad with Colin Kaepernick


Earlier this summer, I was tasked with profiling Colin Kaepernick (QB 1, San Francisco 49ers) for the cover of VMan’s Fall Issue. He was in LA to present at the ESPYs, and we spent an evening talking about his life*. The NFL has long been fascinating to me. It’s the most popular show on television, after all, and, although just entertainment, football reflects America’s values and problems more clearly than anything I know. Two years ago, I wrote a spec pilot about the inner workings of professional football, which basically outlines the crisis the NFL currently finds itself mired in. Kaepernick has had a brief-but-controversial career, whether it’s tattoos, blackness, religion, sex life and even hat-life being over-scrutinized by the media. The NFL consistently underscores so much that is still wrong in our culture – as seen through the lens of Kaep –  while offering some faint glimmer of hope. I get into all that in the article, which is illustrated by some amazing photos by the don Bruce Weber.

You can now read and download the piece here or pick up the issue on newsstands, wherever $30 magazines are sold.


*One detail I had to share that didn’t make it in the final cut was that, after the interview, Kaepernick was headed to a party where SWV was performing and retired running back Eddie George was DJing. I really, really, really want to know what he played, but I guess I never will. It was one of those parties where you have to fill out tax paperwork before you go because the gift bags are no joke.

PP Q+A #1: Alex Oxley

alexoxley-levelsPP Q+A is a new series where we talk to producers, artists, supervisors, labels, and multi-hyphenates from around the world who we think are worth talking to. We have several amazing individuals whom we’ll be speaking to this fall (*no spoilers*), and we’re going to let the conversations touch on a lot of areas about music, media, and culture. So if you’re not up for the longread, maybe a listicle is more your speed. 

Our first guest is Mr. Alex Oxley, a British ex-pat currently living in Los Angeles. You might recognize him as 1/2 of Fleetmac Wood or come across him in the promotion, PR, or label side of various international music outlets. Even if you haven’t, he’s a fine individual. We spoke last week as he was busy rolling out the first release for his brand new label, Reinhardt Records.



PersonPeople: Tell us a little bit about yourself, for the people out there in Internet Land…


Alex Oxley: I’m a Sheffield lad, who grew up in the Lake District before hitting my 20′s and chasing the dream in London, about spent some years stomping the pavement there, before heading to Berlin in search of techno.


PP: Tell us about Sheffield and Berlin. How did they help shape your tastes?


I was born in Sheffield, but grew up in the Lake District. All my family are from Sheffield, I really feel a strong connection to the city and have spent a lot of time there over the years. Musically the synth movement in the 80′s pretty incredible, there’s a wealth of material from Human League, Cabaret Voltaire and the like. Then it goes without saying that I am a massive fan of Warp Records, and have read into their legacy extensively. I admire their attitude, they had the right mindset from the off. I couldn’t discuss Sheffield without mentioning the techno mainstay that is The Black Dog, those guys have been consistently innovative and future thinking throughout the years.

Living in Berlin was a real eyeopener but visually and musically. The techno scene there is of course well documented, and rightly so as the community and clubs there are quite incredible. I’m sure anybody has has been to Berghain will sing its praises. It was super exciting to live in a city that is so art and music focused, Berlin literally has creativity at ever turn! 

Music has been a constant in my life for as long as I can remember, when I left school I became a painter and decorator but it was inevitable that I’d end working in music to some degree. I’ve worked professionally in the industry for ten years, wearing a variety of hats. From label manager to club promoter and festival, it has certainly been a colourful experience.


PP: When did you move to LA and why?


AO: My wife Lisa, who works in advertising as a senior creative was offered a job role at an agency based out here. I believe change is a positive, and it wasn’t the easiest of moves but the thought of working on my tan (note: I still don’t have a tan) and speeding down the LA freeway listening to Underworld ‘Born Slippy’ was to much to pass up.



PP: What do you think about living here so far?


AO: I absolutely love it. We have been lucky enough to meet some amazing people, and travel around a bit. The sear scale of Los Angeles and Southern California is just mind boggling. I feel like I haven’t even begun to scratch the surface!


PP: Tell us about your previous experience working at with labels.


I was label manager at Botchit & Scarper for around four years. The Managing Director there set me off on the right path. He threw me in the deep end on my first day interning, fresh out of university it sure was an eye opener, but I learnt quickly and loved every minute of it. I can’t thank him enough.


PP: What is the ethos of Reinhardt and where did you get the name from?


AO: To release music we are passionate about and believe in fully. I want to build a label people look to as a mark of quality and a certain aesthetic, not driven by trends or genre. Musically Reinhardt is an open book, and a label where artists can push and fully express themselves. I’m in this for the long haul, and the music we release and artists we work with will reflect this.

I procrastinated over the label name for months. Aside from the logistical elements of setting up and running the label, settling on the name was a job within its self. When I heard the word Reinhardt it struck me instantly, and I ran it by a couple of people in the industry who opinions I trust highly and they gave me the thumbs up.


PP: Why did you think it was necessary to create a label?


AO: Well, it has been a dream of mine to have my own label since picking up dj’ing in my late teens. I’m sure most DJs you to speak with will tell you about their obsessions with certain labels, and what drew them to the labels. You get to that point where you literally can not wait for a record to be released, and you are there on the door step of the record shop the day of release. The industry has changed so much in recent years, but I want people to feel that same passion I have and had for certain labels about Reinhardt.


PP: How is being in L.A. going to help the label?


AO: The sun certainly helps, that is for sure. As I said earlier and I am still finding my way in LA, but musically it sure is a hot spot right now so only time will tell how much being in LA influences the label.



PP: Tell us about this first release and other artists who are committed…

AO: The first EP is by Antenna Happy, a producer who cut his teeth in the 90′s releasing a bunch of 12”s and DJing extensively, but got disillusioned and drove his energy into his second creative passion, acting. Fast forward to last year, and Antenna Happy sent Lisa an early version of the lead EP track Pinto. We were both instantly hooked, and I knew this track had to released.

In regards to forthcoming releases, I can’t announce them just yet but keep an eye on the label’s social media.


PP: How does a small run label in 2014 make ends meet? What’s your plan?

AO: I have always worn a lot of hats whilst working in music, so I am all to aware of how tough it can be to make ends meet. Running a label is no picnic!

Music synchronization is certainly an area I will be exploring with the label, and we have already started to gain interest with just one release under our belt. There will also be Reinhardt club nights and live audio-visual shows, plus maybe some limited edition tea towels.


PP: Are you doing vinyl, digital, and CDs or what formats will you be focusing on?


AO: Physical products will be a premier focus for the label. We’ll release the vinyl first then the digital release with bonus material a month later. There is a CD compilation planned further down the line, and we will be move into artist albums as things progress.


PP: Anything regarding the label’s plans that isn’t ‘official’ yet that you want to tease?


AO: I am keeping tight lipped for the time being, but more details will be revealed soon.


PP: Since this is a music supervision site…Any bit of music supervision (ads, TV, film, video games) catch your ear or impress you recently?


AO: I thought Yppah’s track ‘Never Mess With Sunday’ worked really well on this 02 advert from a while back.



AO: I’m a quite a film buff, and seek out a lot of soundtracks on vinyl both old and new. The music on Drive - I’m sure most will agree – was amazing and worked perfectly with the film, and I was impressed with the Under the Skin soundtrack too.


PP: Any recent music, music biz, or press trends you like or loathe?


AO: Well, let’s not get started on the recent U2 album saga shall we, zzzzz.

I’m always trying to keep an eye on labels and artists working in imaginative ways. I thought the Boards Of Canada and Aphex Twin campaigns were superb. Hats off to Warp Records for sure.

Sometimes it is what you don’t say or show that really sparks intrigue and excitement.



Reinhardt’s first release – Pinto EP by Antenna Happy - is out now on vinyl and will be released digitally on October 20. Hear more on Reinhardt’s SC page.

The Shift

“The Shift” is a short film period piece that one of my writing partners, Francesco Calabrese, wrote and directed. I helped with story, dialog, and in some other creative producing capacities. The short went live yesterday and was chosen as “Short of the Week” on the aptly named “Short of the Week” website and was picked up by io9 as well. It stars Molly Quinn, Ryan Welsh, and Whitney Hoy. Music by our good friend Mark Yaeger.

UPDATE: The film has been seen almost 100K times in the first 4 days and was selected as a ‘Staff Pick’ at Vimeo! Not bad.


Here it is in all its Technocolor glory…

THE SHIFT from Francesco Calabrese on Vimeo.

FYF 2014: Stray Observations

FYF Arena Disco Balls

Stray observations from FYF 2014:

      • There were some production hiccups on the first day. This was the first time it was hosted in the LA Coliseum complex just south of USC. It was difficult to get into the dance stage, as it filled to capacity, and some people experienced long waits to get in. This was basically solved by the second day, but, on the first day, I got into the dance arena and basically stayed there until the end. Too afraid to leave and not get re-entry.
      • From the lighting to the smoke machine to the 50 disco ball diorama to the glittering cosmic backdrop, the Sports Arena felt like Space Mountain.
      • Speaking of the Sports Arena, the last time I saw a show here was for the kickoff show of the Alive 2007 tour.
      • DJ Harvey’s fashion was inspired by Freddie Mercury. He opened with this. Played this. Also this. And ended with this, a nod to the Todd.



  • Caribou’s set was great. The new album is sounding great. The perfect mix of rock show and dance party. I met Nathan Fielder there, which was bizarre. We spoke about magic, misdirection, and the subconscious for most of the set.
  • Terje’s set was also a treat. He delivered many of the expected hits and closed with Eurodans with bonus Whitney Houston acapella over top. Godt djort.
  • Supposedly, several hundred teenage Strokes fans entered at opening gates (around 1p.m.), camped out at the front of the Main Stage, and sat there all day until the Strokes went on around 10:30. Many of these young Strokes fans suffered from dehydration and heat stroke and were carried away during the Strokes’ performance.
  • With Interpol and Strokes headlining, it conjured images of stepped on charlie in a post 9/11 New York. There’s an idea that doesn’t need a revival.
  • Darkside – whether you like their recorded output or not – puts on a fantastic show. It was like if Pink Floyd was filtered through a New Beat kaleidoscope. At the end of the set, Dave Harrington broke that evil-looking spotlight. Rock and roll, bruh.
  • Pound for pound, one of the best booked festivals I’ve been to or even seen.
  • Total acts I saw: Caribou, Todd Terje, Darkside, Caribou, DJ Harvey, Daniel Avery, Tanlines, John Talabot, Future Islands, The Strokes, Presidents of the United States of America
  • I regretted missing: Run the Jewels, Haim (caught a few songs in the distance), Slowdive, Kelela, Blood Orange, Kindness, bands I’m too ignorant to even know I’m missing out on
  • I did not regret missing: Phoenix
  • Number of bacon dogs eaten: only 1
  • Number of whiny people on social media: All
  • Number of attendees at the festival: roughly 45,000
  • Number of free Bud Light Apple-Ahhh-Ritas that can fit in my pockets: 6
  • Number of ‘mystery bags’ filled with white powder found on ground: 2
  • Number of Strokes t-shirts: a Billion
  • Days of recovery time: 2-3
  • Number of fucks given: ∅

16 Unanswered Questions for DJ Harvey: A Wildest Dreams Non-Review

DJ Harvey and the Wigged Ladies

                                              Harvey Bassett has a posse

The act of reviewing music in 2014 feels like an exercise in pastiche. A twee cultural artifact whose existence defies its lack of necessity. Like vintage typewriter fetishists and pork pie hats.

I’ve done some music reviews in the past but have basically stopped in the past couple of years as I ask myself,“What’s the point, honestly?” In the past, reviewing music was a practical tool for describing music to a reader that probably could not access the music being reviewed. These days, with the glut of streaming, do we even need the middlemen music journalists to tell us what a piece of music sounds like? Music reviewing has evolved from describing what the thing is to instructing us how we should feel about it. Or, readers often just focus on the score, a wildly inflammatory clickbait tool that for some reason just won’t die. Why do we rate music numerically? It feels uncivilized. Even worse, a review can be something people read in lieu of actually listening to the music, which smacks of classic poseurism, rendering the music review nothing more than a disposable cheatsheet for opinion and cachet.

I was thinking of writing about this newly released DJ Harvey project Wildest Dreams, but I feel like I’ve seen the same review of this record 5 times already. You might find that Harvey seems to repeat himself in interviews, but I think that’s more of a byproduct of mimetic journalism. He’s often asked the same harmless-but-superficial questions when he goes on a press run. The echo chamber is set to wet; the delay is at 11. If you’re reading this and don’t know who Harvey is, you can google to find various publications calling him the Keith Richards of disco or the line about playing the blues and group sex on ecstasy or the time he brought Larry Levan to the UK, yadda yadda yadda. He’s the Zelig of music that rotates on tables, and his personality is the product on sale. His over-documented reverence and backlash have only helped cement his mystique, and his international visibility seems to be at an all time high.

With Randy California cast as spirit animal, the Wildest Dream LP was recorded several years ago with three members of Orgone. I would assume the delay in release was either not to compete with the Locussolus rollout or that there was a problem with the label. Or both. It’s psychy-rock or rocky-psych and a bit less jokey than Map of Africa. Ultimately, a very listenable release, suited for balearic barbecues and California convertibles. It feels loose, raw, and intentionally unpolished. Blah Blah Blah.

As usual, the rumors and specter of Harvey’s persona supersede the music itself, and I’m left with more questions than anything:

1-Why did it take so long for the record to come out?
2-Where are the recordings from the other rumored Map of Africa sessions?
3-What ever happened to Whatever We Want Records?
4-Why don’t other DJs take a tip from Harvey and stay off the social media?
5-Don’t they know that mystique is in short supply?
6-Why haven’t Quentin Tarantino and DJ Harvey ever collaborated?
7-How do I know they haven’t tried, and it just didn’t work out?
8-Could it be that thing when you get too similar personalities together and they repel?
9-Are Harvey’s feet just too ugly even for Tarantino?
10-When is the next beer bust?


11-When is Andrew Weatherall going to play in California again and can it be an 8 hour back-to-back with Harvey?
13-Who’s going to give Harvey his own Jonesy’s Jukebox or John Peel style radio show to muck about and be generally charming for the rest of his career?
14-Can Harvey go dormant for a while so that the heat can cool down and we can have a proper Sarcastic in the near future?
15-Or should he decamp back to England and then return to in 2024?
16-Who the fuck reads record reviews anyway?




Wildest Dreams is out now on Smalltown Supersound. You can buy or stream this record wherever albums are bought and streamed.

Ø out of Ø stars.

Music Resources for Low Budget to No Budget Projects


“The picture is locked. We didn’t budget enough for music. Now I’ll never get into Sundance!”


We’ve been getting a good amount of queries recently along the lines of…”I’m working on this project (short film, no budget feature, webseries) and have no money. Can I still get music?” So we thought it wouldn’t be a bad idea to consolidate a bunch of our answers here as a general resource to our filmmaker friends out there.

The short answer is basically, “Yes, you can!” Your choices are obviously much more limited to what’s out there at any given time. First though, make sure you’re not just searching for public domain music. Public domain means that the publishing has gone into the public domain but that the master is most likely still owned and controlled by someone you’ll have to pay. There is not a lot of music in the public domain, or at least as much as one might expect. Next, you’ll have to define who you are (amateur, professional, student, non-profit) and what rights you are seeking. If you think your work qualifies as Fair Use (US only), then that’s a whole other ball of wax. Here is an interesting primer on “Fair Use Best Practices to investigate if your use might qualify.

This list focuses on internet-based, very low budget (or royalty free) libraries*, but before you start researching, you should try to narrow down the rights you’re looking for. Period, territory, media, etc.

Creative Commons, which basically pioneered the idea of offering/assigning different freedoms on licensable materials, has an excellent resource for various entities offering free music:

  • Free Music Archive is a collaboration between a lot of indie radio entities like WFMU, CASH, dublab, KEXP, and others and has a large library of music, much of which is royalty free.
  • Jamendo - offers many types of amateur and professional licenses for songs in its database. Some tracks are free to use commercially, but many are not.
  • BeatPick has a solid interface to let you break down the type of media, rights, and duration of license for their library. I found rates for independent producers as low as $75 to use a track in perpetuity on an internet-only film (no out-of-context uses).

CC warns that “Most importantly, you need to use music that is not licensed under a No Derivative Works license. This means that the musician doesn’t want you to change, transform, or make a derivative work using their music. Under CC licenses, synching the music to images amounts to transforming the music, so you can’t legally use a song under a CC No Derivative Works license in your video.”

As far as other options, Moby Gratis is a site designed by licensing wunderkind Moby. Unfortunately, it’s limited to non-profit and non-commercial works.

Vimeo has its own music store, where you can find songs at different price points based on usage ($.99/personal use, $1.99/personal ‘premium’ use, $99.00/commercial use) –  and some offered free under Creative Commons attribution licenses.

YouTube also has a music store, where it offers free music and sound effects. The library is quite small, unfortunately.

iLicenseMusic is a subscription service that requires a monthly fee of $89. Their model is interesting; you can use up to ten pieces of music at any time per month for any type of media. You can cancel your subscription any time, but you must be subscribed if your media is being published. Recommended for short-term projects that you would need 5-10 pieces of music for.

Another interesting service is ScoreAScore which is a marketplace where producers can post proposals for work and then different composers can bid on your project. Sign up, post your call for work (and budget), and you’ll have people sending you bids in no time.

Musopen is a non-profit that seems to be heavy on classical composers and recordings . Everything is free, and donations are accepted. They also have a useful FAQ on public domain in music.

Audio Jungle is another database of affordably priced music (many songs between $5-$15).

Premium Beat has a decent selection of music, on average about $30 per track.

Additionally, many pieces of video editing or audio software – like Final Cut X, for example – come with built-in (or purchasable plug-ins) of royalty-free music. And there are still CDs with royalty free music that you could buy when people used to buy physical media, but please read the fine print and make sure the entities that published the CDs still exist.

will rap 4 food

If you still haven’t found what you’re looking for, try convincing a composer or producer to make the song you want. You should consider finding a young/up-and-coming composer from a college/grad level composing program. Many film schools have partnerships with composers’ organizations or schools, and there are a lot of both in cities like LA and New York. Even better, look for people going after a composing for film degree. These are the people you want to talk to. Many of these composers are open to doing a work for hire (for free!), as they, like yourselves, are often more concerned with gaining exposure and experience than upfront cash. If you need some suggestions on where to find these, please let us know.

Whether you’re paying for music or not, you still have to give the proper credits, especially if you’re going the CC route. Some rights holders don’t require you to give credit, but, when in doubt, give a proper credit or contact the rights administrator.

We’re hoping this will be an ongoing series/conversation so if you have any suggestions or ideas or have any firsthand experiences (good or bad) with any services, feel free to shoot an email to paul.fuemana@person-people.com. And as always, feel free to reach out to us if you have any questions.

Happy Digging, PP

*We’ll tackle traditional library sources, library-as-reissue, and other related topics in a future post.