A Conversational Primer with Ian Ewing

California’s Ian Ewing has spent the bulk of the last decade wisely; with dozens of singles, collaborative tracks, and a fully-stocked LP covering the territories of RnB, lo-fi, trip-hop, and every pocket in between, he’s clearly amassed a rolodex of songs, not to mention instrumental and compositional skills. Appealing to an extremely broad range of fans and listeners, Ewing’s personal infusion of multi-instrumentalism stands in stark contrast to the ever-growing “in the box” production and recording phenomenon for music producers, and is the standout factor throughout all of his minted originals and collaborations.

Next weekend, The Rust is hosting Ewing and a smattering of other potent acts for a Morning Coffee two-night escapade at The Chocolate Factory in Brooklyn, and we’d be remiss if we didn’t take the opportunity to get a few questions and answers on the record – read the full interview below.

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April 10th & 11th in Brooklyn:
parkbreezy & pheel. + Morning Coffee, VCTRE, Ian Ewing, Vinja, SAM-E, Talex & Squalpat

Join us: Tickets • RSVP

The Chocolate Factory
70 Scott Ave, Brooklyn, NY 11237

21+ | 10pm ‘til late

Powered by Void Acoustics

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The Rust: We're very excited to have you out here in NYC with us for this particular weekend. What's your read on this city?

Ian Ewing: I’m so honored to be invited for this! Oh man, I love NYC so much. I started coming out here more often around 2018 or so, playing shows put on by the Sundae Sauce collective. I’ve been lucky enough to meet a bunch of other beat makers and artists who live out here, so I always have some friends to hang with whenever I’m swinging through. And outside of that, I just love the scale of the city. I always feel so small when I’m here, but in the best way! You can be as free and weird as you wanna be here, cuz there’s always someone more free and more weird than you lol. And the bagels!

Ian Ewing · Nitefeelz vol. 1

The Rust: Your output since 2017, but particularly in the 2020s, has been extremely consistent. What's your writing process like? What's powering all of this music?

Ian Ewing: I appreciate that! I’m fortunate enough to be able to put a good amount of time into making music, so I figure I should make the most of that! I’ve always really admired prolific artists, so I think I just try to emulate that in whatever small ways I can. I always want to be sharing something that I’m working on, even if it’s not in it’s most perfect form. For me, releasing a lot of music just allows me to move on and make the next thing, and that next thing is hopefully better than the last. In my experience, being overly attached to what I make has made me feel quite stagnant creatively. I try my best to let go of the perfectionist mentality, knowing that it’s not about making something perfect, it’s about making something as best you can that represents you at that point in time. 

The Rust: Your Lakehouse LP put a serious array of influences on display. The jazz, hip-hop, and RnB infusions are right at the forefront of your sound. What are some of the records that influenced your development around that time? 

Ian Ewing: I can definitely recall listening to and being inspired at that time by Flying Lotus, Kaytranada, and Galimatias. Musically, I’ve certainly always been blown away with these artists, but I think even just conceptually, I was really inspired by how these instrumental producers were making really cohesive albums, and incorporating a lot of vocalists. Beyond that, these artists really transcend genres to me, or rather, they’ve created their own genres. That really made me want to make a project that sounded different than, say, a lofi hip hop project. 

The Rust: Your list of collaborations is extremely extensive. How do you end up plugged into all of these pockets of musicianship? What are some of the more notable collaborative releases for you in the last few years?

Ian Ewing: Yea, I feel so lucky for that! It’s really just been the power of the internet. My artist project has largely evolved in the online world, and I’ve been fortunate enough to connect with all types of creators through it. Whether it was Soundcloud in 2017, Discord in 2020, or Instagram in 2026, the internet has connected me to a ton of incredible people, collaborators, and music lovers. I seriously love all of my collabs, but some of my faves are some drumming features I did for both Cautious Clay and Galimatias. I’ve also done some official remixes for Braxton Cook, Masego, and Pale Jay.

The Rust: Your myriad styles have plenty of crossover with the overall direction of all.Lo Collective and their frontrunner producers. How are you feeling about this upcoming performance? 

Ian Ewing: Definitely! I’m super stoked, I really dig the sound of all these artists and I think it’s gonna be a really rad night of music.

The Rust: Speaking of performances, you've got a fair share of videos displaying your acumen behind the drum kit. How do you approach solo performances/presentations in the concert space? What are you considering as you prepare for the show next weekend?

Ian Ewing: I’ve experimented with all types of live set ups, but as I’ve never really consistently toured, there’s always considerations that have to be made as to what the set up is. I really like having a drum kit when I can have other instrumentalists involved. But if I’m solo, I like to base it closer to a beat/DJ set, and just get creative with it. I like to include old tunes, new releases, unreleased stuff, live edits I make just for that show, whatever! Throw a couple FX controllers and a drum machine in there, and I got a lil improv beat/DJ hybrid set going.

The Rust: While you've got a significant amount of music already on the airwaves from 2025, what's 2026 looking like? With 7 years having elapsed since your last full studio album, are there any plans for more long form releases?

Ian Ewing: Yes! I have some singles, collabs, and an EP forthcoming this Spring. I definitely plan to make another long form release. These tend to take some time for me, both the writing/producing and lining up collaborators or vocalists. So I’m currently just trying to up my level musically and hopefully I can slowly build something that will eventually be the next long form release.

The Rust: What's your favorite kind of sandwich bread and why?

Ian Ewing: Highly dependent on the type of sandwich! But even still, the answer is sourdough because how can you say anything is better than sourdough??

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With such a consistent output, we’re never in a dearth of Ewing’s musical offerings. Whether it’s a solo endeavor or a companion project amongst friendly musicians and producers, he never fails to leave the mark of his midas touch. With just over a week to go before the double-header weekend, don’t miss the opportunity to catch Ian Ewing amongst an amenable cast of producers, including pheel., Parkbreezy, 5AM, VCTRE, and more.

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.

pheel. · you cant dub echo ur way outta this one. EP

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:

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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!

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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

all:Lo Collective - all:Lo Compilation Vol. 1

Surfacing out of the vast musical wilderness that is Colorado, all:Lo Collective is a burgeoning label that aims to be steeped in all things low fidelity and low frequency. Parker Williams (parkbreezy), Phil Gallo (pheel), and Diana Neculcea man the helm of the operation, which informally began in 2017. As of 2018, they have officially launched the label into the public realm, and intend on immediately setting the bar at a righteous height with their ambitious first release, the all:Lo Compilation Vol. 1. Striving to connect hip-hop and bass music with an especially swampy flair, their top priority is injecting Colorado, and the music scene at large, with a refreshing perspective on the common musical tropes and pathways within these respective genres.

Capitalizing on hip-hop’s undeniable influence in broken-beat music, all:Lo Collective focuses on curating and disseminating dusty beats, slapstick rhythms, and juicy sub frequencies. Their first compilation does an excellent job of showcasing just what kind of sound and the quality of production they have in mind, and craftily bridges the gaps between a spate of producers who encompass a wide swath of various genres. Featuring forward-thinking and exploratory musicians such as Nocturnal Status, Dillard, Primate, and of course pheel. and parkbreezy, this collection of soul-drenched tracks creates a deliberately smokey, cumulus texture for the ears. Ranging in tempo, attitude, and aural narrative, this all:Lo compilation displays the due diligence done by it's benefactors, and the result is sheer audible sensuality.

Aphasia opens the compilation with “Orbifrontal Entourage”, a boundless flight through zero gravity. Tasteful blending of monochromatic pads and top-layer percussion drive the composition through the stratosphere, and sampled stabs of stereo synthesis steer the notation and emotional interplay of the track. Sandwiched squarely in the center of this release, parkbreezy and pheel. display the dynamic of their combined brain power with a VIP of “Cluttered Time Machine”. The rhythm rests perfectly in the pocket for the duration of the track, zeroing in on the head-nod attitude that all:Lo endeavors to cultivate. Twists of choice synthesis flicker and dance in between the crunch and punch of kicks and snares laden with supple compression. Of particular note is the hip-hop-fashioned, succulent Primate track, “Relaxtion”. Balancing on a tempo that is a bit sparing within his established discography, Primate brings a jazz-first mentality to the table; deliciously funky basslines respond to the call of slightly detuned rhodes chords that turn over in each phrase, revealing sparse, deliberate notes that resolve every measure.

With all three owner-operators having already spent years as fans and strident members of our amorphous global community, it is endearing and encouraging to know that all:Lo Collective has a genuine mission with genuine passion. With patience, specificity, motivation, and a little bit of elbow grease, all:Lo Collective has made a bullrush out of the gates with all:Lo Compilation Vol. 1. I’d tell you to pay close attention to the future endeavors of this stand-out team, but they are already certain to be invading your ear holes in no time at all.

FOLLOW all:Lo Collective: SoundCloud / Bandcamp / Facebook