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.

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.