Inder Phull

Inder Phull is the co-founder and chief executive officer of PIXELYNX and the creator of KOR Protocol, a project focused on intellectual-property infrastructure for interactive entertainment.^[1]​

학력

Phull studied economics at the University of Birmingham, earning a Bachelor of Science degree between 2010 and 2013. Before university, he completed A-levels in economics, English, and law at Haydon Sixth Form from 2007 to 2009.^[1]

He founded Smartercus, a social platform intended to help students build portfolios and connect with employers. He was also selected for membership in SEO London, which supports students from ethnic minorities pursuing careers in professional services.^[1]

경력

Early Career and KRPT

Inder Phull began his professional career in June 2012 as a Direct Tax Accountant at Ernst & Young (EY), where he worked until August of that year. In October 2012, he established KRPT°, an organization working with brands and creators in music, skateboarding, and art. He served as its Founder and Chief Executive Officer until December 2018, which served as a foundation for his later work with blockchain.

KRPT brought together more than 1,000 creators, including musicians, media owners, record labels, and visual artists. Its activities involved connecting these participants with brands and incorporating creators into project development and planning. In 2016, the organization received the International Music Summit (IMS) Visionaries award and was included in Amsterdam Dance Event's list of 10 technology companies to watch.

Between July 2013 and October 2014, Phull worked as an Account Manager and Analyst at Project Sunblock, a company providing online advertising content verification. Its platform used content analysis, image recognition, and website relationship databases to monitor digital content and identify potentially harmful associations with advertisers. He subsequently worked as an Analyst at Channel 4 from October 2014 to February 2015.

Music Industry and Advisory Roles

From May 2016 to October 2020, Phull worked in commercial strategy and partnerships at the International Music Summit (IMS). His responsibilities included commercial strategy, partnership execution, panel curation, and digital strategy. IMS organizes events in Ibiza, Los Angeles, and China, focusing on electronic music and related industries.

In January 2017, Phull became an advisor to Young Guns Network, a professional organization for individuals aged 18–25 working, interning, or operating businesses in the music industry. The network organized industry events, workshops, and professional development activities. By 2018, it had more than 1,000 members. His advisory role continued until October 2019.

During the same period, from January 2017 to September 2019, he advised Skute, a platform connecting physical locations with digital content through proximity technologies, including near-field communication (NFC) and beacons. The system allowed users to access digital material, experiences, and offers through physical tags and connected devices.

From September 2017 to February 2020, Phull served as an advisor to Musicians Against Animal Cruelty (MAAC). The organization used music events and artist participation to address biodiversity loss and issues affecting wildlife. Its first event took place at Ushuaia in Ibiza and raised more than £200,000.

Between December 2018 and January 2020, Phull worked as a Music Consultant for Incipio Group. His responsibilities included developing and managing music programs for venues such as Pergola on the Roof, Lost in Brixton, and The Prince. These programs included live acoustic performances, DJ sets, playlists, and performances by emerging artists.

In September 2019, Phull also began serving as an advisor to Orcastra, an organization involved in environmental projects related to ocean pollution. One of its projects consisted of constructing a stage with a capacity of 5,000 people at Glastonbury Festival using 10 tonnes of plastic collected through beach cleanups.

Connect the Crowds and Graphite Music

In January 2019, Phull founded Connect the Crowds, a creative agency specializing in music and entertainment. Its work involved developing partnerships between brands and participants in music, gaming, and entertainment, as well as producing events and experiences. The agency later became part of Graphite Media.

From January 2019 to December 2020, Phull also served as Head of Music, Gaming and Innovation at Graphite Music. His work involved developing partnerships and entertainment strategies for companies operating in music, events, lifestyle, and technology. Graphite's brand relationships included Prada, Calvin Klein, Diageo, Christian Dior, Raf Simons, W Hotels, H&M, Phillips, Pioneer DJ, Corona, and Red Bull. Its activities in music and entertainment included collaborations and bookings involving Liam Gallagher, Lady Gaga, Pharrell, Ed Sheeran, and Mark Ronson.

His agency and partnership work also included projects involving Lacoste, Disney, HSBC, Paco Rabanne, Black Mirror, Beatport, mau5trap, Pioneer DJ, Gillette, and Spinnin' Records. Projects associated with Black Mirror, Beatport, and mau5trap were among those he identified in accounts of his professional activities.

PIXELYNX

In October 2020, Phull co-founded PIXELYNX with Dean Wilson, Ben Turner, Joel Zimmerman (Deadmau5), and Richie Hawtin. He assumed the role of Chief Executive Officer. The company develops interactive music products and tools connecting artists with audiences and providing systems for the management and monetization of intellectual property. Its projects have involved collaborations with Black Mirror, mau5trap, and Beatport.

PIXELYNX developed products including KORUS and KOR Protocol. KORUS is an interactive music platform that allows users to remix licensed recordings and earn revenue from their creations. The company also developed Smile Club, an immersive experience associated with the television series Black Mirror. According to KOR Protocol, more than one million users had interacted with the PIXELYNX ecosystem.

According to Phull's LinkedIn profile, Animoca Brands acquired a majority stake in PIXELYNX. CoinDesk also reported the acquisition. His profile states that he raised or generated more than $40 million through investment and revenue. KOR Protocol separately reported that more than $45 million had been raised from Web3 investors for its development and that Phull had raised or generated more than $50 million for PIXELYNX's next phase in connection with the protocol.

Investments and Industry Memberships

In August 2021, Phull joined the Rolling Stone Culture Council, an invitation-only organization launched in late 2020. The council brings together individuals working in music, arts, and related industries. Its membership selection considers professional experience, industry contributions, and involvement in related fields.

In January 2022, Phull became an investor in Volta XR, an extended reality (XR) creation platform that allows artists and creators to design and broadcast immersive experiences. The company is part of the Techstars portfolio and has partnerships with Warner, Beatport, Boiler Room, and Mixcloud.

He also became an investor in Oorbit in January 2022. Oorbit operates a cloud arcade platform offering games and virtual worlds that incorporate blockchain technology. Its platform allows users to access digital games and participate in virtual environments.

KOR Protocol

Phull's professional profile identifies him as the founder of KOR Protocol from January 2024. The project develops decentralized infrastructure for managing, protecting, sharing, and monetizing intellectual property in music, film, television, gaming, and art. Its services are directed toward creators, developers, and rights holders working with digital intellectual property.

KOR Protocol incorporates blockchain technology, artificial intelligence, and decentralized finance into its infrastructure. Its listed investors and backers include Animoca Brands, Republic, Niantic, Sfermion, and Solana. The project has also identified creators and entertainment properties associated with its activities, including Black Mirror, Imogen Heap, Disclosure, Deadmau5, and Richie Hawtin.

In November 2024, KOR Protocol published information about its founding team, identifying Phull, Joel Zimmerman (Deadmau5), Richie Hawtin, Dean Wilson, and Ben Turner as founders. Yat Siu was identified as a board member. The account also described Phull's professional connection with Ben Turner, which originated through the IMS Visionaries program and later led to introductions involving Deadmau5 and his manager, Dean Wilson.

In May 2025, Phull presented a demonstration involving a track by Sound of Fractures that had been remixed through KOR. The demonstration showed royalty payments distributed in USDC through Original Works and was discussed at Amsterdam Dance Event. In June 2025, he announced that KOR had hosted an IMS Accelerator program. The 2025 edition was won by Lee Morrison of rightsHUB.

On July 24, 2025, Phull appeared in CoinDesk's Crypto for Advisors: Blockchain and the Music Industry. The publication examined the use of blockchain technology in music rights management, including its implications for ownership and royalty distribution among artists and investors.

Jukebox Ventures

In October 2025, Phull announced the launch of Jukebox Ventures in collaboration with Alex Jukes. The investment fund focuses on music, culture, and technology. His professional profile lists him as a board member of the venture from October 2025. ^{[1] [2] [3] [4]}

인터뷰

Inder Phull on Music Technology #01

In an interview published on May 13, 2025, on the YouTube channel Modern Musician, Inder Phull discussed the use of blockchain, gaming, and artificial intelligence (AI) in the music industry. The conversation addressed intellectual property management, music licensing, alternative distribution models, and the relationship between artists and their audiences.

Phull outlined an approach he referred to as “hobby to pro,” which focused on increasing access to music production and enabling individuals to develop their skills independently or pursue professional careers. He also discussed the role of blockchain in managing music rights, particularly in an industry where a single work may involve multiple songwriters, producers, publishers, and record labels. In his view, distributed records could provide greater visibility into ownership and licensing arrangements, facilitating collaborations and the use of musical works across different platforms.

During the interview, Phull described the functions of Pixelynx and KOR Protocol in relation to intellectual property registration and licensing. He explained that creators could register musical works and other assets, define permissions for their use, and establish conditions for activities such as remixing, distribution, and AI training. He also discussed applications that allow users to create derivative works from licensed music, with royalty arrangements involving the original rights holders. As an example, he cited Chorus, an application developed within the ecosystem, and collaborations involving the Black Mirror franchise.

AI-generated music and copyright attribution were also addressed. Phull argued that artists should be able to determine whether their works can be used in AI training and under what conditions. He identified the traceability of training data and the attribution of copyrighted material as unresolved industry challenges, noting that licensing frameworks and auditing mechanisms would be necessary to establish clearer relationships between AI developers and rights holders.

Regarding common perceptions of music technology, Phull discussed the association of blockchain and Web3 with fraudulent projects, arguing that the technology should be distinguished from the activities of individual participants in the sector. He also questioned the emphasis placed on streaming figures as a primary indicator of an artist's career progress. According to Phull, maintaining a dedicated audience and developing direct relationships with fans can provide an alternative source of financial support. He further stressed the importance of copyright ownership and music catalog management for artists' long-term financial interests.

At the end of the interview, Phull recommended that musicians become familiar with AI tools, including AI agents, and explore their application in creative production and professional activities. He described AI and blockchain as technologies that could influence how artists produce, manage, distribute, and license their work. ^[4]

Interview on Music and Entertainment IP #02

On June 24, 2025, Inder Phull participated in an episode of the Nephology podcast, hosted by Joe David and published on the Nephos Group YouTube channel. Titled “From Black Mirror to Blockchain: Transforming Music and IP,” the interview covered the application of blockchain technology to intellectual property management, licensing, and revenue distribution in the entertainment industry.

Phull discussed the music industry's ownership structure, in which multiple contributors may hold rights to a single composition, creating administrative requirements for licensing and royalty distribution. He argued that recording ownership information, licensing terms, and royalty arrangements on blockchain networks could facilitate rights management and enable additional forms of content distribution. He also outlined the role of Core, Pixel Links' intellectual property protocol, which supports the registration and tokenization of media assets, licensing permissions, and royalty rights. According to Phull, these mechanisms could allow rights holders to define how their content is used in remixes, video games, and artificial intelligence applications.

The interview also examined the Black Mirror franchise's token initiative. Phull explained that the project involved creating a digital community around the television series, with planned features including access to selected experiences, participation rewards, and opportunities for token holders to contribute to certain creative activities. These included voting on comic book covers and storylines, as well as participation in royalty arrangements associated with selected products. He described the initiative as an approach to establishing direct relationships between entertainment franchises and their audiences, independently of traditional distribution platforms.

Other topics included the use of account abstraction to reduce technical requirements for users accessing blockchain applications, the tokenization of royalty streams, and the adoption of blockchain technology by independent creators and established entertainment companies. Phull also discussed artificial intelligence in creative production, identifying applications such as music composition, vocal generation, and digital asset creation. He addressed related intellectual property concerns, particularly the use of copyrighted material in AI training datasets. ^[5]

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