A Brief Conversation with pheel. ahead of his Cervantes Headlining Show
From all.Lo’s nascient roots through today, pheel. has been an indelible and instantly recognizable cast member, both on the stage and behind the scenes. Watching from our vantage point over the years we’ve worked together, it’s been extremely gratifying to watch the groundswell of support that has held steadfast for Phil Gallo’s creative exploits. This weekend, he’ll be rocking his first headlining performance at the venerable Cervantes Masterpiece Ballroom on December 13th, and he’s primed the show with his latest 1-2 punch, the you cant dub echo ur way outta this one. double-sided release. In anticipation of both, The Rust had the opportunity to check out the EP ahead of schedule, as well as sit down for a quick chat with Phil, as well as commentary from his longtime friend and collaborative partner Griffin Berkins, known for his live analog video synthesis under the Spectrum one moniker.
From all.Lo’s nascient roots through today, pheel. has been an indelible and instantly recognizable cast member, both on the stage and behind the scenes. Watching from our vantage point over the years we’ve worked together, it’s been extremely gratifying to watch the groundswell of support that has held steadfast for Phil Gallo’s creative exploits. This weekend, he’ll be rocking his first headlining performance at the venerable Cervantes Masterpiece Ballroom on December 13th, and he’s primed the show with his latest 1-2 punch, the you cant dub echo ur way outta this one. double-sided release. In anticipation of both, The Rust had the opportunity to check out the EP ahead of schedule, as well as sit down for a quick chat with Phil, as well as commentary from his longtime friend and collaborative partner Griffin Berkins, known for his live analog video synthesis under the Spectrum one moniker.
Both tracks showcase the New York–raised producer’s mastery at blending stripped-down, hard-hitting drum patterns — evocative of the boom-bap era — with lush, high-fidelity sound design. The result is a potent brew, alive with swagger and rich in style. On “u can’t dub echo ur way outta this one.”, pheel. brings his signature scratching to center stage for the first time on one of his studio tracks. Several well-placed ad-libs cut in just before waves of pulsating low end, giving listeners a vivid taste of what it’s like to see him perform live. The EP’s second track, “Baltimore Chop,” is a collaboration with another longtime friend and fellow all:Lo co-founder, Thought Process. Together, they weave their distinct sonic languages into a tune that feels expansive, purposeful, and built to shake any sound system.
Speaking of sound systems, while we’re extraordinarily excited to see the action up close, we couldn’t pass up the chance to glean some extra info while we had the chance with a brief catch up between us and some of our favorite associates:
The Rust: You’ve played a ton of great venues this year. What’s it been like getting big reactions in new cities, and how has that shaped the set you’re bringing to Denver?
Phil: We’ve really been blessed to be able to bring our sounds to so many markets all over the states the last few years. Each set feels like a little experiment to see what tunes and what styles make each city react the most. Denver is always a place where I try to show out for the most. It’s everyone's biggest market, and where I get the most creative freedom to curate a show with acts I really love. and think everyone should check out if they haven't already.
The Rust: Denver always shows up for you. How has the "hometown" support felt, and how does it influence the set you plan to play here?
Phil: Denver does always show up. I do feel a crazy amount of support in this town. I always try to have a handful of brand new ideas for these sets. There’s some stuff I haven't played my last couple sets to save for this one. I always like some type of journey set so I can play all the different styles so everyone can get something they enjoy out of my discography
The Rust: For anyone catching a Pheel set for the first time, what should they look forward to—whether that’s opening acts, visual artists, the venue vibe, or any special collabs?
Phil: The thing I’m most excited about for this show is what Griff and I have planned for the stage design. I think this is going to be our best one yet. Griff's modular visuals really go hand in hand with my music. I’m excited to see what he pulls out for this one. Every artist on this bill and the way we have the run of the show, I think will be a nice roller coaster of sounds and emotions throughout the show. Lots of different tastes combined into one.
The Rust: What’s been the most exciting part of putting together this Denver event?
Phil: To me, I think it’s the support acts we can put on. This line-up went through so many different ideas. I’m so stoked we got it this way. These are all acts I think are doing something really cool. I can’t wait to hear everyone’s sets and to see what all the Vj’s do to light this one up
The Rust: What can fans expect from you in 2026?
Phil: We have a couple mini tour ideas in the works. Also my 2nd album is about 70% done. Once this show is wrapped up, I can shift focus into getting that out there
The Rust: What kind of visuals are you [Spectrum One] going to showcase?
Spectrum One: I will be sharing a fully integrated Analog Modular video synthesis system, bridging the worlds of analog and digital expanding waveforms of color through frequency and vibration, capturing the energy in the room and breathing it back to the audience as a sort of cosmic feedback.
The Rust: What are the primary influences for your style? Where do you find inspiration?
Spectrum One: Observing the shades of the sky shift when the sun is setting and the moon is rising , expanding every horizon into the next, where colors blend and clouds morph together. I draw a big influence from nature and the cycles and patterns she expresses. Infusing these landscapes with modular synthesis, opening and connecting to different vibrations as shapes juxtapose each other, peeling back the layers. Spectrum one is not this or that , rather an isness , like the transparent fabric between. In observation of the wave. I am also inspired by the collaborative nature of circuits and how they communicate across systems-emulating patterns existing in nature
The Rust: Where’s your head been while working with Phil on the upcoming show?
Spectrum One: After 8 years of working with Phil, we have found a natural flow where his trust and encouragement has allowed me to fully embrace my process to tap in and unfold these organic expressions and deliver a truly translatable experience. We both know what needs to be done, and share a complimentary approach to accomplishing these goals and seeing the progress in real time. Also with patience. From album work to live visual performance and stage design to music production, my collaborations with Phil have been some of the most fun and fulfilling and I am even more excited to share what we have in the works!
With just a few days left before the Saturday blowout, and a supporting aural and visual cast that includes Hoodie Weather, Kaipora, Intellects, Slowform, Firecat, and Kenetiphos, make sure you grab tickets to the show before you miss out on the revelry, and we’ll see you on the other side at Cervantes Masterpiece Ballroom!
FOLLOW pheel.: Soundcloud / Bandcamp / Spotify
pheel. Carves out his Territory through Debut echo chamber. LP
Closing out another monumental year in a career built on its own momentum, Phil Gallo continues to deliver a sultry, vivacious package through his musical alias, pheel.. The New York-born producer is a crucial member of Denver’s venerable all:Lo record label, injecting his distinct blend of boom bap and groove-driven bass music, and paying homage to the music of his childhood while nose-diving into the sounds of the future. Much to the delight of his fans, Gallo’s latest release is his long-awaited debut album, echo chamber., demonstrating his ever-evolving talent and ability across nine tracks of shifting moods and nebulous hues.
Closing out another monumental year in a career built on its own momentum, Phil Gallo continues to deliver a sultry, vivacious package through his musical alias, pheel.. The New York-born producer is a crucial member of Denver’s venerable all:Lo record label, injecting his distinct blend of boom bap and groove-driven bass music, and paying homage to the music of his childhood while nose-diving into the sounds of the future. Between his solo project and collaborations with Morning Coffee (pheel. & Parkbreezy) and Groovsauce (pheel., Parkbreezy & Thought Process), he’s managed to stay rather busy the last two years with a string of releases, a national tour with Lone Drum, and debut performances at Tipper and Friends and Red Rocks Ampitheater. Much to the delight of his fans, Gallo’s latest release is his long-awaited debut album, echo chamber., demonstrating his ever-evolving talent and ability across nine tracks of shifting moods and nebulous hues.
Beginning with the infectious head-nod track, “afterglow.”, and followed by “dust bin.”, “suss.” and “blip hop.”, the front half of echo chamber. stirs eerie soundscapes and infectiously pulsating low-end, all atop pheel.’s signature drum breaks. Falling directly in the middle of the album, “i’ve had it all.” is his lengthiest track to date; an absolutely stunning five-minute composition, “i’ve had it all.” showcases the growth in his songwriting ability, stirring up joy and sorrow through effective blends, turnarounds, harmonies, and potent arrangement. Past this point, the album increases in tempo and intensity, with tracks like “dripp.” and “solivagant.” putting a veritable bounce in each downbeat. Come the very end of the album, “blue skull cap.” and “yutia.” bring the vibe back home through sheer flavor and swagger, mingling the constituent elements across the entire album for a stellar two-track ending. Between the consistent arrangements, the infusion of high-end sound design, and the walking bass lines he’s become so known for, echo chamber is truly Gallo’s most comprehensive work to date.
The release of echo chamber proves that while pheel. is continuously improving his production chops, he still holds firm to his roots, remaining in a state of uniquity and staying on our radar as a direct result. Prior to his massive New Years Eve appearance opening for CloZee at Denver’s Mission Ballroom, we took some time to toss the man a few questions about his debut album and his last few years on the road.
Wes Johnson: Where does the title of the LP come from?
pheel.: I was very back and forth when picking the name for this album. echo chamber was one I’ve been sitting on for awhile. Its definition is “an environment in which a person encounters only beliefs or opinions that coincide with their own”, which felt a bit dark to me, but also felt like it really related to this point in time in our lives where there is a lot of darkness and debate going on. The other definition, “an enclosed space where sound reverberates,” really resonated with the artwork Veggie Tempura made for me 2 years ago when I first started working on this project.
Wes Johnson: How has the way you approach making music changed since the release of your last EPs in 2021?
pheel.: I feel like my approach is similar, just more refined. I try going into session with more purpose of what I’m trying to accomplish instead of just fucking around and seeing what happens. Sometimes that’s fun and gets fun results but lately it has turned more into time waste. My goal I’ve been working on since COVID started is to improve my sound design. I feel like I’ve improved a bunch but still have a lot of work to get where I want to with that aspect. I’ve always had a love for finding old tunes to sample or chop up to get a vibe going, but my main goal is to have a fluid combination of both of those styles.
Wes Johnson: What does this release mean to you?
pheel.: This one has meant a lot to me. It’s the first album I’ve ever put out - some of these tracks are from the 2+ years ago draft idea of this, and some are from this summer. For me, usually the older tunes I end up getting tired of and [they] go to die in my projects folder, but these ones still feel like what I want to show, where I’m at at this point and time. A combination of the chiller boom bap style stuff, building up to more sound design-esqe tunes then taking the energy back down to top it off.
Wes Johnson: What have been some of your highlights of the last year of your project and what are you looking forward to?
pheel.: Man, it’s hard to really pick, but the tour with Lone Drum really made me feel a lot more comfortable with the scratching part of my performances. Ever since that, I’ve felt so much more confident with it - even though I still feel like I have a lot of work to do to get to where I want with it, I’m happy with the results. Secret Dreams and Sonic Bloom were huge to me because it was our whole all:Lo crew, and these festivals trusted us with a whole 4+ hour block to showcase all our styles.
Wes Johnson: Anything else you’d like people to know about you/echo chamber?
pheel.: Thanks for listening and reading ⁃ love, Phil
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