There are producers who follow trends, and then there’s Phill Prince, who crafts them with a smirk and a synthesizer. The Milan-born selector and producer doesn’t simply inhabit the space between structure and chaos – he thrives in it, bending time signatures and expectations with the flick of a fader and the charm of a trickster prince who’d rather lace your tea with a 4/4 kick than small talk.
His world is one where MPC pads are rosary beads, rituals start with caffeine, and silence screams louder than synths if left too long unfilled. In the ever-blinking circuitry of modern club culture, Phill Prince finds analog warmth, unfiltered soul, and playful tension – threading House music’s golden era into the needle of now. From vinyl sanctuaries in Berlin to sweat-soaked New York afterhours, his tracks don’t just play – they entice, fight, and leave a trace of perfume on the collar of your memory.
With “Pleasure Playground” he didn’t just drop a vinyl debut – he built a monument to groove, a carousel for the sonically inclined, a place where swing kisses sincerity and vocals breathe like lovers in a stairwell. Now, as his sound stretches across continents and compilations, Phill Prince continues to navigate the liminal space between precision and improvisation – half sculptor, half spaghetti-thrower, always seeking that one groove that sticks like glitter to skin after dawn.
We sat down with the man behind the moniker to talk artistic alter egos, party bombs, analogue confessions, and inflatable dolphins.
Torture the Artist: Hey Filippo, tell us something about your day.
Phill Prince: Hey! Well, a typical day for me is a mix of structure and chaos – just how I like it. I usually start with some coffee and a deep dive into music, whether it’s digging for new records, sketching out ideas in the studio, or just letting myself get lost in a loop. There’s always something playing in the background, even silence feels loud when I’m not working on sound. If I’m not in the studio, I’m handling PLGRN stuff, chatting with collaborators, or organising the next move, events, releases, or something unexpected. And somewhere in there, I try to eat, walk, and plan. It’s all rhythm in the end.
I liked the idea of a name that sounded noble, almost regal, but with an ironic side: someone who maybe offers you a cup of tea… and puts a 4/4 bass drum in it.
Torture the Artist: “Phill Prince” sounds both noble and mischievous- like someone who’d spike your tea with groove. How did your artist name come to be, and was there ever a rejected alias that still haunts you at night?
Phill Prince: Phill Prince’ was born a bit as a joke, a bit by fate. ‘Phill’ is a variation of Filippo – my name – but filtered through international music. ‘Prince’, on the other hand, is a tribute to those pop and funk influences that formed me: as a child, I listened to artists like Prince (the real one) and was fascinated by that combination of elegance, charisma and strangeness. I liked the idea of a name that sounded noble, almost regal, but with an ironic side: someone who maybe offers you a cup of tea… and puts a 4/4 bass drum in it. There were other aliases in the mix, yes – one in particular was too weird to live and too catchy to die. I won’t mention him here, but he occasionally glances at me from the mirror as I prepare selections for my upcoming sets.
Torture the Artist: Your vinyl debut EP “Pleasure Playground“ already feels like a low-key classic. When you listen back now, does it feel like a first kiss, a weird dream, or an awkward school photo besides the fact that it was and is heavily appreciated by crowds and artists?
Phill Prince: Listening to “Pleasure Playground” again today is a bit like finding an old crumpled Polaroid in the breast pocket of a club jacket: there’s a smile, there’s a groove, there’s also a bit of dust but good, like cosmic glitter. The idea was to create a record with an old-school, uncompromising house soul. No plasticised hype, just groove, swing and that slightly raw flavour that we like.
The vocal was written by me and sung by someone very close to me, whom I prefer not to name… but who gave the track a real, almost intimate soul. It was a small miracle: the record sold out and toured halfway around the world. When we were told that Cinthie in her Elevate shop in Berlin was selling it like hot croissants… Well, that’s when we knew something had worked. Who expected that? We certainly didn’t. But maybe that’s the beauty of it: building a playground for pleasure… and then letting people dance in it.
Torture the Artist: Out of all your releases so far, what has been the one to further your career?
Phill Prince: “Pleasure Playground” is the EP that marked a turning point. It opened the doors to the vinyl market for me, which is a world in itself, with a different intensity and care than the digital circuit. Printing a vinyl puts you in front of reality: every choice weighs, and every detail counts. It was there that I understood how important it is to treat a project with almost artisanal dedication, far from the lightness with which, in 90% of cases, you publish digitally. Plus, seeing people and artists who were actively looking for the album, and who wanted to have it physically… was surreal. It wasn’t just a release: it had become an object of desire. And that, for me, changed everything.
There’s this intensity in the way people connect with the music, like they’re right there with you in every transition, every bassline.
Torture the Artist: You recently made your US debut in New York. What surprised you most about the crowd, the city, or the afterparties – and did you bring a slice of “Pleasure Playground“ with you to NYC?
Phill Prince: I played two parties during my NYC debut, ReSolute and Sub.mercer, two very different situations, but both wild in their own way. What surprised me most? The pure, raw energy. New York doesn’t just party, it vibrates. There’s this intensity in the way people connect with the music, like they’re right there with you in every transition, every bassline. And yes, I definitely brought a slice of Pleasure Playground with me, not just in terms of tracks, but in attitude. That blend of house nostalgia and playfulness felt right at home in the city that never sleeps… especially at the afters.
Torture the Artist: Your track “Indigo“ on “Party Bombs Vol. 3“ is about to drop on System Error. Without giving away all your secrets, what kind of party is your bomb made for? And who’s likely to survive it?
Phill Prince: Great question! Have you noticed how “Indigo“ sounds slightly more techy compared to the other tracks on the record? That’s exactly what I love about it, it bridges different paths. It’s not locked into one vibe. This track was made for shape-shifting situations: a hard warm-up where you’re teasing the dancefloor, a peak-time house moment where you want that extra tension or even a charged-up afterparty in the sun. It adapts, mutates, and that’s what I love about this whole “Party Bombs Vol. 3“ release. It invites DJs to play with contrast. Who could survive it? Probably only the ones who don’t try to control it, just ride the wave and sweat it out.
Torture the Artist: What are three “Party Bombs“ you’ve been playing out in your sets recently that always do the job?
Phill Prince: Here are three Party Bombs that never fail in my sets lately
- Lewis Boardman – Get Down Tonight (Original Mix): old but gold. Timeless groove, it just locks people in.
- Alexander Skancke – You Get A Two: this is the king. Pure dancefloor control — playful and smart.
- Silverlining – Downtime: uncle Silverlining… the best one. Deep, driving, and always unexpected. A masterclass.
Torture the Artist: System Error doesn’t seem like a label name – it sounds like a warning message after a long weekend. What drew you to the label and how do you see your sound fitting into their upcoming EP?
Phill Prince: Funny you say that, System Error does sound like a warning after a wild weekend! But honestly, I reached out to them myself. I’d been following the work they were doing and thought, why not be part of something this interesting? Labels and communities like theirs are exactly what needs to be valued in the scene right now. My hope was to bring my own contribution, my sound, to that energy and help push the vibe forward on the upcoming EP. It feels like a good fit, both for me and for what they’re building.
Torture the Artist: Let’s speak a little bit about your music and productions. Can you take us inside the “Phill Prince studio” – what’s the first thing you touch when you start a session, and what’s something completely non-musical that always has to be nearby?
Phill Prince: When I start a session in the “Phill Prince studio”, the first thing I do is dive into my own stash of presets, sounds I’ve crafted over other projects and refined over time. From there, I build melodies using carefully chosen, sampled snippets that feel unique and full of character. But the real magic comes when I bring in my analogue gear: the MPC1000, Yamaha RM1x, and Roland TR-8. These machines add that raw, tactile vibe that you just can’t get from software alone. Hitting those pads and knobs instantly sparks creativity and makes the groove come alive. As for something non-musical? I always have to have a good cup of coffee nearby. it’s like fuel for my brain and keeps the ideas flowing through long sessions.
Torture the Artist: Is there a particular sound, texture, or sample you keep returning to, like an inside joke between you and your DAW?
Phill Prince: I always try to bring some variation into what I build. Sure, you’ll find familiar elements like claps, closed hats, and snares; those are staples. But the real signature comes from how the beat’s footprint shifts each time. It’s like a subtle inside joke between me and my DAW: the patterns are never exactly the same, always evolving, keeping things fresh and unpredictable.
Torture the Artist: What’s a studio habit you know is bad but refuse to give up – like EQing with your eyes closed or mixing on laptop speakers while standing on one foot?
Phill Prince: I probably listen way too loud in the studio, it’s my little dopamine hit. When the bass hits just right and everything clicks, I get hyped. I know I should probably stick to more proper monitoring levels to protect my ears and keep things balanced, but hey, sometimes you just gotta ride that wave and feel the energy. It’s a bad habit, but it’s mine!
Torture the Artist: What’s something people might be surprised to know inspires your music, like a weird documentary, a dodgy takeaway spot, or a random YouTube comment?
Phill Prince: One thing that might surprise people is how much I “train” myself daily to discover new music, it’s part of my routine. I treat it almost like a workout: digging, listening, analysing. I use all kinds of platforms for recommendations, but funnily enough, I use ChatGPT a lot to explore new paths, especially when it comes to production tips or niche sounds I wouldn’t normally stumble across. It’s like having a weird, nerdy studio assistant that never sleeps.
The chaos gets structured, but it never loses its original energy. That balance is everything.
Torture the Artist: Your music often balances precision with playful energy. Do you think more like a sculptor or like someone throwing spaghetti at a wall to see what sticks?
Phill Prince: Honestly? A bit of both. I start like someone throwing spaghetti at the wall, messy, impulsive, chasing a vibe without overthinking. It’s about catching that raw spark, even if it’s imperfect. But once something sticks, I shift into sculptor mode, shaping, refining, carving out the details until it hits that sweet spot between groove and personality. The chaos gets structured, but it never loses its original energy. That balance is everything.
Torture the Artist: You’re curating a one-night-only Pleasure Playground. Three artists, one inflatable dolphin, and a fog machine. Who’s playing and what’s the theme?
Phill Prince: For a one-night-only Pleasure Playground, I’d definitely share the booth with close friends and artists who represent the same deep, underground house sound I try to push. People like DJ Pipe, Praslea, Chad Andrew, and Chklte… serious heads, great selectors, and even better energy behind the decks. There’d be a fog machine, an inflatable dolphin floating through the crowd, and no rules, just proper music all night long.
Torture the Artist: If one of your tracks were to be used as the soundtrack for a toothpaste commercial, which one would it be and why? Bonus points if you describe the dance moves involved.
Phill Prince: If I had to pick one of my tracks for a toothpaste commercial, I’d go with “Notorious”, it even features a vocal hook from the one and only Notorious B.I.G., so imagine him brushing his teeth in slow motion, gold chain swinging, mirror fogged up, dropping bars while rinsing with minty freshness. The dance moves? Picture a flossing routine (yes, literally and figuratively) turned into a synchronised bathroom rave. Lights dim, bass hits, and everyone’s brushing to the beat. Now that’s product placement.
Torture the Artist: What’s something in dance music that you wish would make a comeback, and something you wish would disappear forever (we won’t tell anyone)?
Phill Prince: That’s a question I honestly can’t answer with certainty, music moves like a circle, spinning with or without us. Trends come and go, and we’re just riding that wheel. If I look at what I create and what inspires me, I’m constantly looking backwards: pop-disco from the ‘80s and ‘90s, real rock from the ‘60s, that raw, emotional sound that had soul. Then I see some trap artists topping the charts today and I ask myself: is this really what people want? Maybe I’m just wired differently, but I’d rather dig for timeless grooves than chase temporary hype.
Torture the Artist: You are responsible for the latest art:cast, when is it best listened to and how did you proceed with the selection of the tracks?
Phill Prince: The latest art:cast is a journey, a kind of cosmic dimension that starts with deep, atmospheric tones and slowly evolves into a techy groove. Along the way, it touches on elements of samba, minimal textures, and deep house warmth. It’s best listened to when you want to disconnect from reality, whether it’s during a late-night drive, a solo walk, or the first spark of an afterparty. The selection process was instinctive: I followed emotion, not genre. Every track is a step, a transition, a feeling.
Torture the Artist: Finally, what’s next for Phill Prince, musically, mentally, or martini-wise? Anything you’re itching to try or somewhere you’re dying to play?
Phill Prince: I’ve got several vinyl releases on the way with labels like Zingiber Audio, OGE, LowMoneyMusicLove, Purple Print, plus some digital bits too. But beyond that, I’m focusing my energy on something bigger, something different, with a wider perspective. It’s going to take time, and it won’t be easy to bring it to life… but I’m fully in. No spoilers for now, just know it’s coming.
Words by Holger Breuer
Torture the Artist 