Phantasy’s #PH100 retrospective continues with PH45RMX. Denham Audio, perhaps one of the most prolific British production crews emerging in some time, arrive on Phantasy with a breakbeat-heavy and lucid take on James Welsh’s ‘Cold Land’. Originally released under Welsh’s original alias of Kamera in 2015, ‘Cold Land’ remains one of the underrated gems in the label’s back catalogue. Initially emerging from a shed in rural Mallorca, it’s halcyon poly synths and skittish drums immediately recall the wide-eyed optimism of 90s IDM. Far from mere ‘braindance’, ‘Cold Land’s emotive quality affords it a unique timelessness. Fresh from releases on Lobster Theremin and E-Beamz, Denham Audio build on their recent reputation for both nuance and impact, comfortably interweaving the dreamy melody of Welsh’s with unapologetic breaks, taking the original’s futurist sonics into the parallel scene of UK hardcore and DnB. For those with a warehouse going spare, the alternate ‘Raw Mix’ hits even harder. TRACK LISTING: A1. Cold Land (Denham Audio Melodic Mix), A2. Cold Land (Denham Audio Raw Mix), B1. Cold Land

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Having recently been remixed by Radio Slave, Ozel AB and FC Kahuna on Phantasy, James Welsh returns to the label with ‘Zurich/A65’. Anoth-er expertly executed two-track primed for the club but infused with detail and sheer personality, it further cements his idiosyncratic and forward-thinking interpretation of techno, industrial and experimental electronic styles. Opening the EP, ‘Zurich’ takes an infectious, urgent bassline and gradu-ally expands into a weightless landscape. Slowly revealing it’s rhythmic intent, it seamlessly blends a distinct melancholy with intensity, which, like the best of Welsh’s work so far, is both wistful and physical. Appropriate to its namesake, ‘A65’ sets the scene by sampling the un-mistakable sound of speeding Yorkshire traffic, opening up a breathless musical autobahn, driven by luminescent synths that pulse with euphoria and energy.

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The EBM-indebted techno funk of James Welsh’s ‘Thread’ reemerges from the industrial fog, evolved into two outstanding remixes by a trio of established, emerging and somewhat unexpected artists. Ozel AB delivers his debut remix, reimagining Thread to encompass a widescreen vision of depth and drama. Unfolding slowly and ethereally, with military kicks holding down a seemingly weightless, extended breakdown, his taste in dreamlike rave euphoria contains the same magic touch as it has done on previous, acclaimed releases for Workshop and Lobster Theremin. On his ‘Garten’ remix, Radio Slave takes a percussive approach to the relatively raw electronics of the original track, adding a deceptively simple but immediately effective layer of drums to the production, before unleashing a more filtered and fucked-up interpretation of the riff to winning effect.

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Fresh off the underground success of ‘Standing/Slip’, a club-ready bullet that received support from DJs such as Leftfield, Scuba and Adam Beyer, James Welsh returns to Phantasy post haste, once again blending a slab of characteristic rave euphoria with a more downtempo trip on the flip.
The release opens on ‘Thread’, the unmistakeable sound of Welsh pushing his studio to its unworldly limits. Initially building the tension with competing, spectral components, an ominous intro paves the way for the sudden eruption of a stomping, hi-NRG electro bassline. Pathologically chaotic until it’s final moments, sudden breakdowns of white noise and ghostly commands lost deep in the mix anchor the listener in reality, enveloped in smoke and strobes, real or imagined. On the contrary, ‘North’ stretches a skeletal half-step beat to support a bracing vision of maximalist melancholy. A chilly analogue hymn, awash in choral reverb, heavenly organ sounds coalesce with cathartic distortion, creating a six-minute musical landscape that is at once pleasingly epic, yet tellingly intimate in its more subtle details. Physical and cerebral in equal measure, ‘Thread/North’ is a worthy contribution to Welsh’s increasingly powerful back catalogue.

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Since 2015, James Welsh’s contribution to Phantasy as Kamera has delivered a series of releases shrouded in mystery, injected with the personal energy of both a hardcore and club heritage. Two EPs, ‘Arc’ and ‘Ventoux’, set a distinct tone, with the latter complimented by head-turning remixes from artists such as George Fitzgerald, Throwing Snow, Truncate and Yaleesa Hall. Now, the key Phantasy artist emerges from the shadows under his own name, in order to continue his uncompromising musical journey.
Returning with a new, two-track EP, ‘Standing/Slip’ captures the finely tuned tension and euphoric release of Welsh’s sound in arguably its strongest form to date, showcasing not only the dancefloor mettle firmly established under his prior alias, but a new sense of wistfulness that coaxes his typically outstanding machine work into altogether more reflective territory. ‘Standing’ throws listeners headlong into Welsh’s formerly anonymous industrial complex, generating a churning, relentless rhythm offset with a dry female vocal that recalls the sardonic stance of vintage electroclash. Following this, ‘Slip’ is an initially unexpectedly spectral diversion, transmitting a curious synth line into space, and receiving a choral, sombre frequency in return. Without losing it’s emotive qualities, the track succumbs to a hailstorm of Welsh’s sharp, potent drums, before collapsing in understated catharsis.

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Shabby Doll may seem a little infatuated with Yorkshire house at the moment – but who's complaining? Next up is the 'Wanderlust EP' from Bradford born James Welsh. James has already performed remix duties for Shabby Doll, having whisked up Mella Dee's 'Things Don't Change' in 2013, but his appearance centre stage turns the attention onto his own propulsive house sound. The four-track release brings together three sparkling James Welsh productions, along with a malevolently powerful remix of the title track by Hypercolour's Ste Roberts. It's another sign - following releases on Hypercolour, Wolf Music, Losing Suki and Futureboogie - that James is a quality creator of deep, delicious house music. In fact, James has already hit some heady heights in his previous life as Ocelot. In that guise, he signed to Wall of Sound and played everywhere from the main stage at Creamfields to a rooftop gig in Miami, not to mention remixing the likes of Rob Zombie, Depeche Mode and... believe it... Britney Spears. But now he's cut loose and is heading where his heart takes him...



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Following on from Medlar's debut album 'Sleep', WOLF Music return with their 21st release. This time they welcome back James Welsh to the label with a full EP backed up by a remix by Dutch rising star, Frits Wentink.

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DJ Nature follows up 2018’s ‘Ultimate Delusion’ EP with another set of pure heaters for Futureboogie. The Bristol born DJ and producer, also known to many as Nature Boy, comes with an exemplary track record, but that’s to be expected from one of the scene’s early pioneers. Releases for Golf Channel Recordings, Jazzy Sport and Ruff Disco Records are considered true classics, and rightly so! Breezy MPC house jams of the highest quality, ‘Flutter’ manages to fuse David Lynch style pads and earthy vocals with a marching rhythm, whilst ‘A Moment’ gets cosmically charged with a spiralling modular lick over a chugging guitar hook and spacey chords. NB’s Mix of Siliconada goes straight for the jugular, with looping disco rhythms and off kilter jazz licks, whilst the Original Version lays heavy and disorientating synth work down for a killer techno injection. As always, DJ Nature delivers a unique and distinctive sound that is often imitated but never bettered!

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Quirky and trippy house flavours are served up by Desert Sound Colony and Baby Rollen on the ‘Beta Burner’ E.P., with added psychedelic flavours courtesy of an A Sagittariun Remix. Hot of the heels of stellar releases for Touch From A Distance, Snap Crackle & Pop, and his very own Holding Hands Records, Desert Sound Colony debuts for Futureboogie, and delivers a trio of collaborative tracks with Baby Rollen, and a solo jam to boot! Title track, ‘Beta Burner’, is built upon an infectious break- beat groove and bumping sub-bass line; Rhodes chords jostle for position with dubbed out tones, synth hits and acid riffs, as this colourful and contagious track works its magic. Bristol based techno dreamweaver, A Sagittariun, summons up the original track’s darker elements for a slower paced, but just as deadly, “Re-Dream”. ‘Sagi’ slingshots his remix with tribal snares and a typically transcendental arp riff over muscular beats. The inventive and playful work continues on ‘Dumpster Truck’, with the gargantuan bassline taking centre stage, supported by swinging broken beats and frisky sound manipulation for a truly enjoyable ride. Wrapping up the EP, Desert Sound Colony goes solo on ‘Seismic Soy Bean’, ramping up the funk factor past 11, and dishing up the kind of headsy, happy tech grooves that the likes of U-Freqs and Wiggle were foraging at the turn of the millennium, to great effect.

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Welcome to ‘Ruffy’s Island’, the brand new interactive game that’s blowing minds from DJ, producer, record label owner, record store owner and video gamer Ruf Dug! Futureboogie proudly partner up for the audio extravaganza. Three levels to conquer, each soundtracked by Ruf Dug’s first new music in over 3 years. The virtual journey comes complete with a bonus ‘level’ in the form of a remix from the in form Sharif Laffrey. The wistful 16-bit funk of ‘Boat Party’ leads you through the first level, its melodic chops and jubilant mood advancing you to stage two with ease. ‘Techno Cave’ guides the shoot-em-up activities in the cave, with its bold, brassy bass, sparse synths and rapid tempo. Find the ‘Easter Egg’ that is the Sharif Laffrey ‘Nightwork Remix’ and you’ll be in for a real delight, as the Detroit mainstay ramps it up over ten tantalising minutes with a truly exceptional version. Make it to the ‘Abandoned Pyramid’ and you’re clearly a professional. Ruf Dug leads you on a tropical excursion through this mystical land, with deft piano play and meditative pads. What lies ahead on the fourth level, we will have to wait and see...

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Stalwart of the scene, Craig Bratley, serves up big Italo flavours all over the “99.9% EP”, ably backed with a remix from Mr. Andrew Weatherall. With previous releases on Neil Diablo’s To Rack & Ruin, Tsuba, Is It Balearic? and Robsoul Recordings, Bratley’s Futureboogie debut opens with the searing synths and chugging arped bass of “99.9%”. Wide-eyed melodies and punchy drums demand a mirror ball moment to this fabulous cut. Family favourite, Andrew Weatherall, takes the chugging tempo to new depths, remolding “99.9%” into a tense, reverb soaked, dubbed out sci-fi encounter. Further explorations into space disco are to be found on “Italo Love” with luscious waves of thick analogue sound and planetary FX, whilst on “Take Me To Bedford Or Lose Me Forever”, distinct Asian influences are at play, as Bratley channels his inner Vangelis for a mesmerizing and cinematic piece.

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Futureboogie’s 60th release comes from Elliott Lion, the uber talented musician and producer and the keyboardist and chief electronics whizz for the hugely successful band Editors. Lion has recently embarked on a solo venture, embracing his love of classic house, techno and spaced out cosmic disco. In its original form, ‘Ectsasy’ combines pacey disco looped beats, seductive vocals, dramatic sweeping pads and arpeggiated synths for a perfect cosmic pop experience. Roman Flu¨gel delivers a remix of epic proportions, stretching and dubbing out the original over the course of eight tantalising and telepathically charged minutes. A future Barbarellas classic in the making for sure! Otherworldy atmospherics are at play in ‘I Can’t Forget You’, as Lion packs in a driving bassline and roaming synths into this techno infused burner! The darker vibes and dubwise sirens are intoxicating and perfectly demonstrates Lion’s production chops and a producer to look out for!

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Purveyor of fine disco grooves and future funk, Ron Basejam, returns to Futureboogie with the bustling 5 track EP, “After The Rain”. Having already contributed some key releases and remixes to the label, from his 2016 collaboration with Neil Diablo, his first class remix of The White Lamp’s “It’s You” to his stellar productions as part of Crazy P, Basejam gets right down to business across all five cuts. Rhodes keys glide over soulful vocals and a frenetic percussive workout on “After The Rain” as elegant soaring strings lift the atmosphere perfectly. A raw and stripped back bass and drum funkfest shapes “The French Exit”, whilst on “Raise”, a heavy synth riff breaks out over tom-laden beats and uplifting vox. The quality never drops as further excursions into soulful street vibes are dished out across “Jacob’s Chair” and the positively energetic euphoria of “After The Sun”. An EP packed with many different shades of Ron Basejam’s continually on point productions, this is a must for lovers of the boogie!

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Having carved out a reputation for some of the finest cosmic house productions on labels like Omena, Dirt Crew and Quintessentials, the Lithuanian based producer delivers three new cuts on this release, which comes ably backed by a remix from Italian producer Fabrizio Mammarella. On the title track, Alex Pletnev (Ponty Mython), goes for breezy synths and wandering melodies over a chugging mechanical beat and an FM style bassline, whilst Fabrizio Mammarella (Bear Funk/Les Disques De La Mort) toughens things up slightly on his remix, plunging into a darker sound aesthetic for a great reinterpretation of the original. On “Time Spiral” an unhurried groove is laced with layer upon layer of meditative synths and percussive rolls for a fat dose of eighties soundtrack vibes, whilst EP closer, “Appreciate It While It's Not Too Late”, settles down to a head-nodding pace with funky bass and key melodies and live drum samples for a real earworm of a track.

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Kiwi AKA Alex Warren, returns to Futureboogie after 2016’s well received “Orca” EP (which picked up support from the likes of DJ Harvey, PBR Streetgang, Manpower, Kate Simko & many more) with the cinematically sprawling “Amityville” EP. With all the intensity and menace of the supernatural events immortalised in Rosenberg’s 1979 horror flick, “Amityville” leans on Lalo Schifrin’s classic score and serves up a chugging disco-fied monster. Arpeggiated synths and those memorable vocal refrains from the movie build a mood of anticipation that flourishes into sections of pure wigged out disco business. It’s a very clever and unique production, and one that we served up to DJ Tennis for re-interpretation. Following on from recent remixes for The Juan Maclean and Tricky, as well as a spectacular DJ Kicks mix for !K7, DJ Tennis remoulds “Amityville” into a deep and delicate house groove, introducing some guitar riffing and deft mallet instrumentation whilst manipulating the original components to mesmerizing effect. On “Warriors”, Kiwi continues his unabashed love of cult movies with a musical ode that captures the edgy and urban sounds of 70s cinematic synth soundtracks; phasing guitar riffs, rolling snares and dramatic synth sweeps dominate this infectious track. And closing the release, “Paco” is a melody fuelled and studious production; wandering keys drift over a steady beat and filtering bassline combo whilst the synths pitch bend and flex, resulting in a gloriously trippy ambience throughout.

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Having already earned his Balearic stripes some time ago, as one of the resident DJs at We Love.... At Space in Ibiza, Ian Blevins has since relocated to Berlin, and has been immersing himself in the esoteric vibes of the city. On the strength of his latest EP on Futureboogie, this is clearly a good thing, as the 'Round Trip' EP is laden with the deep magical vibes that have also shaped his recent releases on labels like Banoffe Pies, Not An Animal Records, Blind Jacks Journey and ESP Institute. On 'Round Trip', an abundance of driving, arpeggiated synthesizers weave around sparse yet sturdy drumbeats, as thick pads rise and fall in dramatic fashion. Panthera Krause (Permanent Vacation/Riotvan/Lobster Theremin) is on board for the remix of 'Round Trip', re-shaping the original into a merry, space organ led, tribal dance; with a splash of garage house vibes that soon become immersed in its own synth heaven, it's a cracking remix from the Leipzig based producer. On 'Roland's Rat', Blevins keeps things tight with soaring strings, organ stabs a strolling bassline for a quality jam, whilst 'Can You Count My Dream?' is a dense, and cinematic slab of transcendental dance, an almost claustrophobic atmosphere only intensifies the drama and delivers the heat that seals this superb EP from Blevins.

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Following on from 2016’s excellent “Birsk” single on Futureboogie, Philipp Lauer returns to the label with a new three track single. The “Las Brisas” EP kick starts with the mechanical funk of “Pile”; acidic notes drip over heavy EBM drums whilst a hovering ‘Resse’ style bassline dominates, the influence of early house and industrial dance are ever present here on this belter of a track from the Tuff City Kids and Talamanca System player.
More acid pressure can be found on “Clipper”, a blazing and dynamic slice of anthemic Balearic dance. Searing pads and lustrous melodies pour over the robust drum machine workout, that’ll have dancers reaching for the skies! Real stirring stuff from Lauer, which continues with closing track “Tyco”. Ricocheting stabs and cowbell hits bounce off a sturdy kick drum as the track flourishes with more on-point melodies and a snaking bass. Dripping with emotive refrains, Lauer brings his very best to the table here, and rounds off an EP that’s most definitely all killer and no filler!



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Austin Ato is the latest project from Colin Bailey, the multi talented producer from Oban in Scotland who has been the man behind the Drums Of Death moniker since 2008, and has also recorded under the Frankie Dreams and Coba aliases. With forthcoming material also due on Phonica White, Ato lands on Futureboogie with the massive feel good vibes of “Music Will Save The Day”, backed with two superb remixes from Auntie Flo and Christophe. Featured here are two original mixes of “Music Will Save The Day”. The “Dub Mix” the is classic house music jam, packed full of energizing musical flourishes, from the Balearic tinges of the sequenced mallet riff, whimsical pads and booming bassline to the searing crowd chant and the joyous piano motif. Ato displays some serious musical chops here, which are further enhanced on the “Vocal Mix” with the addition of a bi-lingual vocal hook that will surely act as a call to arms on any discerning dancefloor. On the “Auntie Flo’s Hidden Garden Remix”, the Huntleys & Palmers mainstay strips things right back for a beatless excursion, letting the percussive elements drive the forward motion whilst the melodies and thick synth pads wash over like crashing waves, a great reinterpretation by Brian d’Souza AKA Auntie Flo. Futureboogie’s very own Christophe provides the second remix; tweaking an acid riff over a heavy, old school drumbeat and teasing in the musical elements, providing a tougher and more jackin’ take on the Original Mix, whilst keeping faithful to the original vibe.

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‘50’? comprises four brand new tracks from Christophe, each one displaying an assured grasp of what makes a crowd move, having been an essential resident DJ at the Futureboogie events globally. ‘Dance Pants’? takes the futuristic highway through contagious acid basslines, frenetic drum machine patterns and spiraling pads, whilst imaginatively titled ?‘Caravanaramabar’? keeps the energy levels raised with shimmering synths, beating drums and sun rising melodies.
On the flip, ?‘Savanna’? mellows the pace somewhat, wrapping a delectable synth riff around a percussive heavy beat, dusted with choppy vocal hits and dreamy stabs. Closing the EP is ?‘Key Largo’?; wigged out bass and freestyle keys jostle over reverberating drums for a real hypnotizing finale on this milestone 50t?h? release.
A wealth of house music royalty and bourgeoning talent has helped shape the Futureboogie sound and label brand. ?Julio Bashmore?, Waifs & Strays?, ?Eats Everything?, ?Felix Dickinson?, O? utboxx?, ?Ron Baseman?, ?PBR Streetgang? and ?Lauer? are amongst the role call that have helped the label chalk up 50 releases, with ?label boss Dave Harvey? already lining up the next slew of releases to help Futureboogie march towards another 50!

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Futureboogie open their 2017 account with a new release from Lizards, the Newcastle based duo otherwise known as Lee Forster and James Hadfield. After appearances on labels like Leng Records, Join Our Club and Not An Animal Records, Lizards strut their stuff across two original tracks, whilst man of the moment Lord Of the Isles weighs in with a superb remix. The percussion driven house of “Tzatziki” kicks of the release, wrapped in warm and inviting pads and piano riffs. Shades of old school Chicago house meet sun-kissed Balearic vibes on this early morning riser, as the heavyweight bass sounds curl around the raw drum programming and illuminating keys sprinkle over the production. On “Aloof”, the tempo is taken down somewhat, as a bass line wanders over a steady kick and otherworldly ambient sounds and hushed vocal clips lazily glide over the 4/4 arrangement. As the track unfurls, more melodic and percussive elements come into play, blossoming into a something quite epic and unique. With a slew of releases for quality imprints like Permanent Vacation, Firecracker, Mule Musiq and ESP Institute, Neil McDonald, AKA Lord Of The Isles, serves up a deliciously chugging version of “Aloof”. Gurgling bass and marching handclaps are dowsed in dramatic synth sweeps and glacial tones, as the good Lord takes us on a monumental ride.

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