Phantasy is proud to release a one-off double A side 12” from The Chemical Brothers’ Tom Rowlands.
‘Through Me’ is an all-cylinders, propulsive elasticated house track while ‘Nothing But Pleasure’ is eight-plus minutes of unstoppable Metallic KO disco. Both tracks reiterate the point that Tom is unarguably one of the greatest producers of club music around.

Tom Rowlands: “These are tracks that were made to DJ with. I gave them to Erol to road test; he loved them so it seemed a perfect fit for Phantasy – I love what he does with the label. The Chemical Brothers haven’t any plans to release new music this year – we’re soon to start work on a new record – so this 12” seemed an exciting way to get music into clubs now.”

Erol Alkan: “Every time I played the tracks out people were desperate to find out what they were. Both have been highlights in my Dj sets for the last few months.”

Connan Mockasin has had a fantastic 18 months, after seeing ‘Forever Dolphin Love’ released via Phantasy / Because Music, he has written and toured with Charlotte Gainsbourg, topped many peoples album of the year lists for 2011 (and 2012 strangely enough!) as well as being personally asked by Radiohead to support them across their last Australian tour.

Connan’s debut album has just been repressed onto coloured vinyl, and you can expect a brand new album this summer, but in the meantime we unearthed this live recording from his headline show at La Cigale in Paris in 2012, exclusively on vinyl for Record Store Day 2013.

This is the sound of the Future Four.

Led by Andy Meecham, the brains behind The Emperor Machine, Bizarre Inc and Chicken Lips amongst many others, and captures the excitement, diversity, strangeness and harmony of the UK underground sound of the early 90s. We are talking about the sparse dub mix on side 2 of the 12″ single, machines making mistakes and changing the course of history, the dark side of the rave away from the neon and the white gloves, Future Four points the way to the dimly lit corner of the dancefloor and makes you move.

After a recent discovery of boxes of old S950 and MPC60 floppy discs full of sound sets dating back to the early 90s, all three tracks have been produced solely on the MPC 3000 in Staffordshire, and in perfect unison of North and South, mixed by Erol Alkan in London.

Future Four ‘EP 1′ (Phantasy PH23)
- Gwad Bwashe
- Phase 2
- Into Orbit

Phantasy are proud to be releasing and pressing a limited edition vinyl for Night Works. The double AA EP features Erol Alkan’s fantastic brand new extended rework of Long Forgotten Boy. On the flip side is Daniel Avery’s remix of The Eveningtime. Phantasy have remastered Daniel’s remix especially for this release.

Dummy: “Erol gives it the classic disco rework treatment, abstracting Long Forgotten Boy around hissing beatwork and a cut-up vocal, swirling into understated periods of rise and release.”
Clash: “Twisting the cut into a silky, club-friendly eight-minuter, the DJ / producer proves exactly why he deserves his crown as king of the rework. Primarily emerging as a choral-heavy, slow builder, Erol stretches out ‘Long Forgotten Boy’ three-fold. By placing vocal chops over a frenetic skittering beat, he fires us slap-bang into a glitzy roller disco.”
Clash: “Daniel Avery is first up, re-tooling ‘The Eveningtime’ as a squelching, Acid friendly monster.”

Babe, Terror:
I lived 6 months in England, years earlier I recorded a tape with sounds in a apartment i used to share with a girl. U meets girl, in London. Girl gives tape. Year after, with a copy of the tape, I made the music, inserting some beats. Years after, U remixed the other tape the girl has given.

We met at Phantasy. We discovered the plots. We went like “whow”. U remixed all the things retransforming everything again (3rd time).

U:
I met a girl in London. She took me for a ride in her car on the north circular. There was a tape playing in the car, the tape was old but I liked it. She gave it to me and told me it had a hidden meaning, so I studied it for a long time. I did experiments with the tape but couldn’t find out.

Years after, BT reveals the mystery to me.

Once again, Phantasy and Daniel Avery are proud to deliver another singular remix on a limited run of vinyl, this time of ‘Drone Logic’ reworked by one of the very best bands on the planet right now, Factory Floor.

“Factory Floor are, hands down, the most exciting new band I’ve seen in a long time. Listening to their music is a truly hypnotic, psychedelic experience. The pulse of techno, the drive of post-punk, it’s a relentlessly enjoyable drone. I’m super pleased to have a remix from them; it embodies everything I love about the band and puts it into a club setting.” – Daniel Avery

Mixed down by Erol Alkan at the new Phantasy studio.

Deep blue 12″ vinyl with the sleeve hand-painted by the artist himself. It features the new version of the hugely popular Erol Alkan Remix and the Coyote Acid Mix of  ’Unicorn In Uniform’. Connan Mockasin stands defiantly alone in the current musical landscape. Exploring the furthest flung horizons of pop music on his critically acclaimed album ‘Forever Dolphin Love’, the New Zealand born, current London resident synthesises the playful aural experimentation of pop mavericks past and present like Joe Meek, Brian Wilson and Ariel Pink but pushes the boat our even further, dissecting, inverting, and dissembling the very structures of the pop song itself, creating something endlessly inventive and completely beguiling, all at the same time.

‘Water Jump’ EP is the second EP from arguably one of 2012′s most exciting new DJs and producers. Featuring 4 brand new tracks ‘Drone Logic’, ‘Water Jump’, ‘Receptionist’ and ‘A Quiet Life’ all illustrating Daniel’s variety as a producer and knowledge of underground club music, referencing the great music of labels such as Kompakt and Ghostly as well as many sounds originating away from the dancefloor, this is yet another big step forward for Avery. ‘Drone Logic’ has already had regular plays from The Chemical Brothers and a certain Mr.Weatherall who received upfront copies.

It follows the success of Daniel’s debut EP on Erol Alkan’s label Phantasy ‘Need Electric’ which brought support from Damian Lazarus, Maya Jane Coles, Four Tet, Richie Hawtin, Gesaffelstien, Tiga, Brodinski, Justin Robertson, Jackmaster – as well as the aforementioned Chems and Weatherall – to name just a handful. To add to this, Daniel also releases his brilliant Fabriclive mix CD on November 19th  for the London institution where he remains a resident.

Fresh off the back of his debut EP for Phantasy which won support from the likes of The Chemical Brothers, Tiga, Damian Lazarus, Andrew Weatherall, Gesaffelstein, Jackmaster, SMD, Heidi and many more, Phantasy proudly presents Paul Woolford’s Special Request remix of ‘Taste’.

A thundering rough and ready approach to the original track, twisting it into something which would resemble Kraftwerk had they spent their formative years overdosing on jungle.

Switch and Erol Alkan come together on what is possibly Phantasy’s heaviest release to date. Saturated acid lines, scratches, vocal snippets and the biggest kick drum this side the Planet 808 dominate a track originally conceived back in 2009. Brilliant remixes come from Night Slugs co-founder Bok Bok, and New York’s Willie Burns who’s recent release on L.I.E.S has been staple in Erol Alkan’s sets for much of 2012.

Released on limited edition splash vinyl. Artwork by Greek artist Dimitris Rokos, label and postcard design by North Internet

Daniel Avery’s debut release for Phantasy has already won support from Tiga, Andrew Weatherall, Damian Lazarus, Cassius, Busy P, Dj Heidi, Dixon and more.

Vinyl comes with 4 ‘lock grooves’ which take elements of the tracks and loop them forever. Cover artwork by Kate Copeland.

‘What’s most immediately apparent about the Need Electric EP is just how strange the four tracks are. The title track seemingly references both Avery’s misty eyed electro clash memories and Paul Woolford in his mid noughties era, as an “Erotic Discourse” flavoured stripped down groove twists itself ever tighter around the detuned analogue core, while icily framed female tones filter out. Alongside this, “Taste” makes for an even weirder bedfellow, its seven plus minutes of sparse rhythms, percolating bass lines and unsettling vocal embellishments quite aptly described by Alkan himself as the “feeling of nature gone wrong”. Thus far this year it remains one of the strangest tracks conceived with the dance floor in mind, but perhaps that’s its inherent beauty’ Juno Plus

The re-recorded Knight’s record, made in 1 weekend after the previous version was scrapped. Babe, Terror joins the dots between Spaceman 3, minimal cold wave, Loop, Actress and beyond. The vinyl is fully etched and plays from the inside out, so you would need to put the needle in the middle of the record, and it would play out to the edges. Design and illustration by North Internet. Concept by Erol Alkan & David Rudnick.

‘A sound that lies back and watches the clouds dance their own dance, Claudio Szynkier’s IDM, partly celestial, partly the result of a splintered subconscious that should be analysed by clipboard holders in white coats, buries ambient house with plenty of emotional tremors dispatched with it.’ – Big Shot 4/5

‘Ever since the release of the eponymous “Music Has The Right To Children” barely a month goes by without a misguidedly over-excited reviewer comparing some outfit or other to Boards of Canada. Almost always, it’s unjustified. Babe, Terror, a one-man bedroom adventurer from Sao Paulo, is one of the few artists who can lay fair claim to that liminal territory.’ – The Monitors Single Of The Week

‘This is bedroom music, without a doubt – each track is a sonic adventure based on a handful of repeated, mutating phrases. In the hands of lesser producers, this could feel reductive or limited, but Babe, Terror manage to create a fragile, reverent atmosphere which grows in the listener’s mind with each listen.’ The Skinny 4/5

‘Knights’ is the sound of music that has lost its way and doesn’t care. This is bizarre strange stuff that gets stuck in your head like so much new-age airport Muzak. Yet there’s something here nearly psychedelic in nature that keeps it utterly engrossing.’ Beach Sloth 8.3

‘These are the kind of somber tunes heaving with oceanic patience that take a minute to fall into. But once you sink, it’s like a stone. The consistent sample-set and synth-voicing throughout Knights recalls a less frenetic Burial, dialing down the pulse of harrowing cityscapes and wrenching out a weird kind of joy in isolation.’ Ad Hoc

‘Imagine The Field subject to five further phases of distortion and you’ll have some idea of what awaits you here.’ - Resident Advisor

‘July Record Sleeve Of The Month’ Creative Review

Never to be released due to some un-clearable samples. . You’ll never hear this record which did make it to the test pressing stage before we decided to scrap it.

Babe. Terror rose to challenge and delivered a brand new EP within days, which will be the alternative Knights EP (PH 18)

The second single to be lifted from Connan’s debut album came with remixes from two of our favourite remixers out there: Michael Mayer and Tom Furse (bassist / keyboardist from The Horrors). Both remixes did the right thing and expanded on details hinted in the original, with Mayer cross-breeding Balearic sensibilities with saxophones and xylophones, which made us recall The Cure’s finest moments amongst others. Tom Furse set the tone to cosmic and blew our minds to bits.

The original version which appears on this 12″ is an exclusive extended version mixed by Erol Alkan. When Connan and Erol were preparing the stems for remixers, they noticed an entire end section which didn’t make the album cut, and is presented here on this format for the first time.

Sleeve art is again by Connan himself, all copies of this label free yellow slab of beauty are sold out!

This finally came out in 2012, but was scheduled for Summer 2011. The hold up? Well the vinyl you see tucked behind this text and which lives above this window, took 6 months and a total of 3 different pressings to perfect. Upon it’s release, people could not believe their eyes: Was it photoshopped? Is it a normal CDr on a tiny record player? Can it actually PLAY music?? All copies sold out within hours of hitting the shops.

We kept the price as the same as a regular black vinyl as we believe that anyone should be able to afford it, rather than make it a collectors item. The day after selling out, copies were on ebay for £50 a pop. So we made more. They all sold out too, and hopefully kept the profiteers at bay..

We just hope we havent lost money on each sale..

On the remix front, Justin Robertson sent us his version a day after it was promo-ed. We loved it and promised it would be released on vinyl. Sorry it took 18 months JR.. Gesaffelstein, gave us a rolling monster of a remix as only he could! We love it! The CDr art was by David Rudnick, whilst the concept and design shared by David and Erol. Creative Review kindly hailed it as their ‘Record Sleeve Of The Month’

‘Avalanche’ originally appeared as the A side to ‘Lemonade’ (PH 08), but we felt we needed to give this reworked version it’s own unique release as it went far further then we expected.

Following Chilly Gonzales’ now classic piano remake of Waves, we decided that a spoken word interpretation would be fitting for Avalanche. One of our favourite voices on Earth today belongs to Pulp front man and fellow BBC6 presenter Jarvis Cocker, so we asked: ‘Jarvis, can you reinterpret an instrumental techno track into a spoken word piece?’ Jarvis gave it a go, eventually came back with a recording of him reciting the words of Leonard Cohen’s ‘Avalanche’ over the top of our ‘Avalanche’. We loved it, but felt the whole track now deserved to be reworked to fit Jarvis’ vocal, and so we did, one day in a boiling hot room in Miami (you wouldn’t guess by listening). Once it was complete, we contacted Mr Cohen for his approval, and he replied back by saying he loved it. Back in February 2012 during an interview  between the two artists, Jarvis personally handed Leonard a copy of the record. Wish we had a photo of that!

Sleeve was designed by Richard Robinson and music pressed onto white vinyl. All copies have since sold out.

‘Forever Dolphin Love’ was the first single to be taken from the album of the same name and features what maybe Erol Alkan’s best reworking yet. Mickey Moonlight delivered a great remix which sounded like you were drowning in honey (to us it did anyway..).

Daniel Bereton directed the incredible video which you can watch by scrolling up, and the sleeve art and typography is by Connan himself. Pressed onto cloudy vinyl, all copies have sold out.

Re-release of Connan Mockasin’s debut album ‘Please Turn Me Into The Snat’, including a bonus CD of live performances. Connan Mockasin has the kind of deliciously off-kilter and gloriously idiosyncratic worldview that rapidly proves addictive. Welcome, folks, to the delightful, slanted and enchanted world of Connan Mockasin…

‘It wouldn’t be so wrong to describe Connan as a twenty-first century version of Syd Barrett. Sitting in his own world, writing cosmic songs laced with pop DNA that nobody else could pluck out of the clouds. Like Barrett, his gorgeous songs are unlikely to be appreciated by every man on the street. If you want an idea of what Forever Dolphin Love is like, picture Syd Barrett performing Pet Sounds’ – Drowned In Sound 8/10

‘Written while camped outside his parents house in one summer, Forever Dolphin Love is a psychedelic journey fusing aspects of folk, jazz, rock and even salsa together. The end result is an schizophrenic album brimming with eccentricity with a nod to Brian Wilson and Sufjan Stevens…a very impressive and hugely infectious release” – Subba-Cultcha 8/10

‘Dolphin glides casually through song and snippet, its construction almost elliptical, its effect amniotic. As such, its highlights seem to emerge after-the-fact, burrowing in while it’s on and bubbling up later. Mockasin’s a more ambitious songwriter than his sleepy demeanor would sometimes suggest, though– the epic unravel of his tracks are proof enough of that.’ – Pitchfork 7.1/10

‘Forever Dolphin Love is an album which needs to be listened to over and over again. There are so many elements, so many thoughts and so many directions on this record that a single spin would not suffice. It’s mesmerising, addictive and comforting, littered with playful lyrics and serene melodies. This is a gorgeous record, as inspired as it is inspiring. A remarkable debut.’ – The Line Of Best Fit

Just as PH11 featured reworked tracks from Babe, Terror’s “Weekend” album, this release carried quite possibly the best finest remix to yet appear on our label: Duke Dumont’s exceptional reworking of “Epicentro”. We fell off our chairs when we first heard it, so if you have yet to discover it, click the title above to stream.

Another great remix cam from Memory Tapes who reconstructed ‘Havai’ into New Order like territory.  The vinyl came in white, with flecks of purple colour, and once again, the sleeve was provided by Bruno Dicolla

We first came across Babe, Terror on Myspace back in 2009, and were instantly captivated by the textures and intricate melodies inside of his self produced music. Hailing from Brazil, Claudio Szynkier initially made music to soundtrack long walks around his neighbourhood in the dead of night, and primarily using his voice as the sole instrument.

His debut release on Phantasy consisted of 2 cuts from his self released ‘Weekend’ album, and featured brilliant remixes from Four Tet and Appleblim & Arkist. Pressed onto orange and blue vinyl, sleeve design by Bruno Dicolla

We knew Paul from the Soulwaxmas tours where he was part of the Dewaele technical crew. Paul would often open the Soulwaxmas parties with his live shows consisting of his own original music, sequencing and tweaking his Sequential Circuits Pro 1 within inches of it’s life. It was around this time we heard ‘Yeah! Techno’ which reminded us of all the best bits of the early naughties with the dancefloor savvy of now.

The red vinyl edition also featured a brilliant poster drawn by Paul himself. One of 2010′s biggest club records.

As well as his piano pella of ‘Never Stop’, Erol had spent a month working on rather long Balearic version of ‘Never Stop’. He finally decided that this new version wasn’t very good, and decided to go the complete opposite way, and came up with this remix after a live analog jam involving his Roland SH 101 and trusted Drumtraks. The whole remix was complete from top to bottom within 3 hours.

This gold vinyl edition was limited to a few hundred copies and have since long sold out.

Yes, it’s that song from the iPad advert. Taken from his album ‘Ivory Tower’ (there’s a movie too, check it out) Chilly ‘The Entertainist’ Gonzales fused his pianist skill with his vocabulary flow to create an album which made you laugh almost as much as dance.

Around the release, Chilly played 4 sold out shows at London’s La Pigalle (featured musical guests included fellow Phantasy favourites Jarvis Cocker and LOTP’s Sam Eastgate) to phenomenal acclaim. The flip of this clear vinyl featured an Erol Alkan Piano-Pella, which according to some, recalled the great minimalism of Philip Glass

The first release between Berlin wunderkid Alex Ridha and our own Erol Alkan on Phantasy. Their previous release ‘Waves’ and ‘Death Suite’ on Alex’s Boys Noize Records was one of 2009′s biggest releases, played by everybody from 2manydjs to Tiesto! ‘Lemonade’ really caused a stir when it was aired at the Decked Out / Kids Company charity event in February 2010. Erol played it during his joint set (with Justice’s Xavier De Rosnay) and blew the venue apart, and almost blew up Alkan’s own forum the next day (and many days later) with people wondering if it was a new Justice track.. Boys Noize played it again later during his set with the late, great Dj Medhi, causing the same reaction as earlier.

Avalanche was the polar opposite. A far more considered club track, slow building with a huge sting in its tail. Somebody once pitched it down to 33rpm and it sounded like a lost Kraftwerk record.  Youtube it! The sleeve was designed by Erol Alkan, and the vinyl sold out within days of release.

Our good friends Soulwax loved the original so much they asked if they could remix it, and gave us one of their finest mixes to date. As well as that, they animated the sleeve as part of their awe inspiring 2manydj’s live show.

London hero Simon Bookish delivered one of our favourite remixes yet on Phantasy, choosing to push the dreamy original into kraut-ish electronic terrains. The result is wonderful. All copies sold out.

Arguably Phantasy’s greatest pop moment to date. ‘Best In The Class’ was 3 minutes of 8bit adrenaline culminating in a thrash out which would have made Queens Of The Stone quake.

The flip contained ‘Blueberry’, LOTP’s most sublime ever recording which featured singing children, one of which also sang lead vocals on Justice’s ‘D.A.N.C.E’. Both tracks were produced and mixed with Erol Alkan, and the ‘Best In The Class’ and ‘Blueberry’ videos were directed by the bands own Sam Potter and Faley respectively. Sleeve designed by LOTP’s Sam Eastage. All vinyl copies sold out within days!

Legend has it that Erol was handed a mp3 of ‘Bangkok’ just before an Australian tour and decided he would test it out at his first festival date once he landed. Unbeknown to him, his set was being transmitted live across Australia on Triple J. Within minutes of stepping off stage, Erol had half a dozen people emailing and texting asking what the hell ‘that third track’ was that he’d played. Somewhat jet lagged and uninterested in emailing at that point, Erol went to bed not knowing that a corner of the internet had lost it’s mind for this new, unmastered and unamed track.

By the next day, that half a dozen requests became 100!

Upon returning home, Erol promptly signed the track and released it within weeks. The newly christened ‘Bangkok’ crashed into every club chart imaginable. A then up and coming Roska (whose ‘Kick’s & Snares EP has just caught our attention) delivered a brilliant remix.

The sleeve was the first to be designed by David Rudnick for Phantasy, brilliantly animated by 2manydj’s as part of their live dj show (as well as fusing it with The KLF’s ‘What Time Is Love’). Sold out on pink vinyl.

Famously described as the best paranoid rap track since Geto Boys ‘My Minds Playin Tricks On Me’ and featuring another great video and remix from James Connolly (aka L-Vis 1990). In Flagranti also supplied a blistering warped disco remix which to this day remains one of our personal favourites.

Released in a limited run of 500 white vinyl in a screen printed sleeve designed by Fergadelic,  all copies long gone.

Another mysterious single featuring two teenage producers named Dirk Boogie and Malono Von Bass from Ultrect, Holland, and Londoner Austin Boston. Legend has it that Dirk recorded Austin (who previously worked at The End nightclub (RIP)) rapping at the nightclub whilst on a trip to London in 2007, and upon returning home, wrote the music with his production partner Molono to accompany Austin’s maverick chant. A copy was sent over to Erol at Phantasy towers who promptly signed it up, and within days it was within the playlists of 2manydjs, Boys Noise, A Trak amongst many others. S

adly, Dance Area never followed this single up, rumour has it Dirk Boogie is currently representing Holland in this years Olympics, although we have been sworn to not reveal who he really is! The video was the first to be made by James Connolly, who many of you will know and love as L-Vis 1990. Also features possibly Diplo’s greatest ever remix! Sleeve typography by Susumu from Zongamin and designed by Alex Egan (who also turned in the Skull Juice remix)

We knew nothing about Fan Death until long after we had already released this record, and that was when we eventually met them in an east end cafe when they finally came to London.

Based around the striking duo of Dandelion and Martha, Fan Death were for a moment the hottest group on Earth. This string laden single did nothing but fuel the fire and featured another sublime Erol Alkan rework, this time turning the original into a slow burning disco cut perfect for the witching hour. Sleeve designed by Fan Death.

We came across Joe Flory AKA Primary 1 on Myspace and were quickly captivated by his perfect lo-fi outsider pop (as also illustrated on the brilliant ‘Mess Detective’ LP). ‘Hold Me Down’ was Primary 1 joining the dots between Kid Creole and mid period Orange Juice, and if their musical zero had been 2006 and post Ed Banger.

Yuksek supplied the remix of the flip side. Sleeve by Gina Barber.

Our debut release, and it came on no less than 3 different vinyl editions (black, dark green and clear green) and heralded the arrival of LA Priest, who many of you will also know as Sam Dust (nee Samual Eastgate), lead singer of Late Of The Pier.

The flip housed one of Erol Alkan’s finest and most underated reworks to date. In fact, the mix which finally made the vinyl is actually the first rough mix as Erol’s hard disc soon died and took the session with it. Sleeve by the genial Will Sweeney & Susumu Zongamin.