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Third in the series from the highly regarded In Flagranti - additional Keyboard playing by Toby Tobias on Belt Freeway



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The eraly years of a decade are good times for exploration, just like in 1993 when we (Alex & Sasa) first started working together. We rented a huge loft space on Ave B & 2nd St. in the East Village in Manhattan. The winter was tough, we had 16 snow storms and due to a landlord who hated everybody, we had our heating turned off except for a few hours in the morning, sometimes not even that... The only way to stay warm was to wear hats, gloves and scarves the whole winter... But that was fine because nightlife was a lot of fun. There was a good club/party every night. Right below where we lived was one of the best after hour clubs called "Save The Robots". But one of my favourite parties was "Sugar Babes" which was at the CBGB's gallery space right next door to CBGB's, every Monday night. The DJ used to sample parts of the records he was mixing and then just play the loop of the sample and alongside was a drummer playing to it. It was really inspiring. So we wanted to go back to this idea of sound assembly and create a new series for us to work with called "Skematics" it's like a diagram or manual to help understand the interconnections between the odd parts we find and assemble, an imaginary manual for a new decade that has not been musically defined yet.

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Four more remixes from the Worse For Wear Album with three different takes on Hallow Discourse from Pete's edit which is close to the original, Abstarxion's high energy Italo style to the pitched down version by Fabrizio Mammarella. Stopmakingme version of Peculiar Protagonist is straight for the Big Room.


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Two new remixes taken from the album Worse For Wear. On side A the title track WFW gets a 90’s House rework by Shit Robot. on side B Latter Day Methods got a nice bouncy mix from Moullinex. Both mixes have been tested in clubs with great response from the crowd.



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Sampler 2 of 2 from In Flagranti's new album. Predictably jacked to the brim full of their signature no-gristle, no-glory aesthetic. “Hallow Discourses” swaggers in on a gritty bassline, revealing excess in its degenerative electro finest, and “The End of the Road” leave a bit of the sleaze at the massage parlour door, opening up a new chapter of sound for the band. More outer space dump diving than straight-up vulgar.


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Sampler 1 of 2 from In Flagranti's new album. Predictably jacked to the brim full of their signature no-gristle, no-glory aesthetic. Succeeding 2006’s Wronger Than Anyone Else and 2009’s Brash & Vulgar, In Flagranti’s Sasa Crnobrnja and Alex Gloor have left behind their vintage porn-chic sensibilities and instead turn to yesterday’s trashed goods for inspiration.“Flea markets and recycling parts of our production are really at the center of this album,” said the now London-based Crnobrnja. “I like things to be old and run-down,” added Alex Gloor, who still resides in Basel. “So I let myself be inspired by one of my favorite places to spend time: 1970s- 80s New York City.” Among four killer tracks, “Prelude to Chaos” reminisces the days where the finest of 69-cent wines glistened in the gutters outside the arcade.


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Predictably jacked to the brim full of their signature no-gristle, no-glory aesthetic, In Flagranti introduces their new album, Worse for Wear. Succeeding 2006’s Wronger Than Anyone Else and 2009’s Brash & Vulgar, In Flagranti’s Sasa Crnobrnja and Alex Gloor have left behind their vintage pornchic sensibilities and instead turn to yesterday’s trashed goods for inspiration. “Flea markets and recycling parts of our production are really at the center of this album,” said the now London-based Crnobrnja. “I like things to be old and
run-down,” added Alex Gloor, who still resides in Basel. “So I let myself be inspired by one of my favorite places to spend time: 1970s- 80s New York City.”
Using experiences from Gloor’s past trips to the Forty Deuce, Worse For Wear conjures up ghosts from the finest of adult playgrounds past. “Hollow Discourses” swaggers in on a gritty bassline, revealing excess in its degenerative electro finest, and “Prelude to Chaos” reminisces the days where the finest of 69-cent wines glistened in the gutters outside the arcade. But standing at a right angle from In Flagranti’s better-known, dirty disco sound are tracks with a peculiar sense of calm. Tracks like “The End of the Road” and “On the Fringe” leave a bit of the sleaze at the massage parlor door, opening up a new chapter of sound for the band. More outer space dump diving than straight-up vulgar, Crnobrnja also added that the album “Works with old recordings that we have not used yet, such as vocals recorded years ago that I didn’t like at the time.” Bringing back the past has meant a softer edge for the duo, who still work from different countries. The only time they come together is for music.
TRACKLISTING :
1. Worse For Wear
2. Prelude To Chaos
3. Hallow Discourse
4. Latter-Day Methods
5. On The Fringe
6. Three-Piece Suit
7. Peculiar Protagonist
8. The End Of The Road
9. Anglo-Saxon Pragmatism
10. Knock Out Logic


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Taking a rare break from producing successful releases on their Codek Records imprint, IN FLAGRANTI brings us Additional Alpha Blocker and Effective Placebo Affect. This cosmic-disco / electro gem is true IN FLAGRANTI ear candy.



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Shining lights in London’s queer electronic underground, prolific duo FAFF make their de Drawing equally on peak-time club catharsis and the emotive experimentation of golden-era IDM and electro, these recordings meld the pair’s diverse DJ sets and ambient live work, which has captivated festivals including Draimollen, Field Maneuvers, and Body Movements. The title track, ‘A Few Good Days, ’ melds hypnotic percussion, snatches of vocal euphoria, and a stuttering break for instant post-rave afterglow. Its wandering but compelling arrangement subtly invokes and updates the pioneering aesthetic of One Dove, Sabres of Paradise, or even William Orbit. The tempo tilts skywards for ‘Tracy’s Night Out’, a peak-time display of FAFF’s studio prowess that fuses choral techno drama with a shamelessly bouncing bassline designed to tear up any respectable sound system. Emerging from the sweat and strobes for a wide-eyed stroll home, ‘Tracy’s Daydream’ wishes away the EP with delicate, textural delight, floating gently on pure analogue reverie.

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Gramrcy and John Loveless return to Phantasy with a double-A single, ‘Lucid / Feel So’. Three years on from their festival-rupturing hit ‘Highdive’, which found regular rotation in the sets of 2ManyDJs, Peggy Gou and Daniel Avery alongside soundtracking shows for Moschino and Hugo Boss, two new tracks expand the sound of the Berlin pair’s studio partnership. ‘Lucid’ features a unique vocal turn from Tony Morris, a former teacher, taxi driver and contemporary cult figure in Glasgow’s underground scene. Having begun DIY production only in his late sixties, he has since released on the city’s peerless Optimo Music and has been profiled by the BBC and NPR, alternately described by The Scottish Herald as “Scotland’s most unlikely pop sensation” and by himself as “a deviant cabaret artist”. Morris’s hypnotic repetitions prove to be an earworming anchor for Gramrcy and Loveless’s pressure-cooker arrangement, a bubbling concoction that represents their most formative influences, combining the sheer bassweight of FWD-era UK dance with the ISDN-line scramble of the most out-there electroclash. Rich in rhythm and textural weirdness, ‘Lucid’ captures the sound of a deeply satisfying intersection of rave outsiders. Eschewing the dreamy psychedelia of its counterpart, ‘Feel So’ instead tips the scales back toward the outright ecstatic. The influence of esoteric disco and post-punk percussion rides on a throbbing bassline that builds toward supreme dancefloor release, paying tribute to a legacy of hi-NRG, spanning Chicago to Rimini.

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Limited edition transparent vinyl pressing of Tom Rowlands' first release on Phantasy. ‘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.

Clear vinyl comes in a stickered heavyweight reverse board sleeve..

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Shining lights in London’s queer electronic underground, prolific duo FAFF make their de Drawing equally on peak-time club catharsis and the emotive experimentation of golden-era IDM and electro, these recordings meld the pair’s diverse DJ sets and ambient live work, which has captivated festivals including Draimollen, Field Maneuvers, and Body Movements. The title track, ‘A Few Good Days, ’ melds hypnotic percussion, snatches of vocal euphoria, and a stuttering break for instant post-rave afterglow. Its wandering but compelling arrangement subtly invokes and updates the pioneering aesthetic of One Dove, Sabres of Paradise, or even William Orbit. The tempo tilts skywards for ‘Tracy’s Night Out’, a peak-time display of FAFF’s studio prowess that fuses choral techno drama with a shamelessly bouncing bassline designed to tear up any respectable sound system. Emerging from the sweat and strobes for a wide-eyed stroll home, ‘Tracy’s Daydream’ wishes away the EP with delicate, textural delight, floating gently on pure analogue reverie.

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Phantasy are delighted to introduce Greek duo Boys' Shorts for their debut EP on the label, ‘Athena’. The project of music obsessives Vangelis and Tareq, the Boys’ Shorts sound has helped redefine timeless strains of disco, house and Italo for Europe’s queer club underground, with similar charisma spilling into their collaborative productions on labels including Live at Robert Johnson, Permanent Vacation and Polari. Boys' Shorts appearance on Phantasy is coupled with their most ambitious and fulfilling songwriting to date. Featuring a rare vocal performance from beloved selector and cosmic disco expert Budino, appearing alongside Elisa Paradiso, the instantaneous lead cut ‘Summer’s Here and Summer’s Missing’ recounts a sun-drenched romance cut short. The duo’s soft, bittersweet synthesis mingles with Budino’s Italian-language lyrics, gently pulsing to find closure, or at least further pleasure, while up late in a Balearic discoteque. Under those same hot lights, Boys' Shorts go deeper still with the leading oscillations of ‘Stereo on Acid’, in which classic, wobbly-hearted 808 sounds flirt playfully with a bassline that bumps like downtown traffic on a sweltering Athens afternoon. Reflecting the hidden pleasures and true underground culture of the city after nightfall, title track ‘Athena’ is a sensual and sophisticated groove with an epic yet understated touch, that one can imagine soundtracking a future soiree or centuries of ancient history alike.

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Following a sold-out UK tour, Factory Floor return to Phantasy with a new single, ‘Tell Me’. As propulsive and direct as anything the cult UK electronic group has ever released, ‘Tell Me’ continues to perfect the dynamic in the band’s current lineup of Gabe Gurnsey, Nik Colk Void, and Joe Ward, with additional drum tracking by Stephen Morris of New Order. Situated between the sonic promise of enduring indie culture, yet naturally imbued with the band’s relentless forward-thinking ethos. Throughout, Colk Void’s inquisitive vocal guides the listener through an elastic square-wave bass groove that forms the rhythmic backbone to Tell Me, before Gurnsey and Ward's frenetic drumming breakdown rains with pure abandon, exemplifying the band’s personal alchemy between genre, scenes, human, and machine. ‘Tell Me’ arrives digitally and on limited 12” vinyl, housed in a riso-print sleeve, backed with an extended mix for dance floor play. There will also be a limited Rough Trade exclusive vinyl edition featuring an alternate sleeve.

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Visionary producer and one half of pioneering electronic duo The Chemical Brothers, Tom Rowlands returns to Phantasy with ‘We Are Nothing / All Night’, the first solo dancefloor material since his last appearance on Erol Alkan’s storied London label in 2013 with ‘Through Me / Nothing But Pleasure’. Once again, Rowlands delivers a double A-side single in order to commit two progressive new productions to wax. Heavily road-tested across the world in Chemical Brothers DJ sets, the sprawling arrangement of ‘We Are Nothing’ trips through a decades-long obsession and subversion of house music and psychedelia alike. Imaginatively sampling Canadian outsider artist Bill Bissett, Rowlands uses the poet’s existential phrasing as the foundation for a rising slalom of acid catharsis, peppered with snatches of soul, analogue freakouts, and all-encompassing groove. ‘All Night’, meanwhile, finds a different, perhaps unexpected rhythm. Here, Rowlands’ unmatched studio instincts deviate in a different direction entirely, employing a searing tempo to embrace the analogue experimentation at the heart of his work, as well as an appreciation for electronic music’s willingness to barrel ever-forward; the result is a worthy head spinner from both label and artist alike.

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Phantasy proudly presents a new AA single from Ewan McVicar, ‘Careless Drifter / Basic Foundation’. Undoubtedly one of the most prominent and successful figures in UK dance music in recent years, McVicar’s contribution to Erol Alkan’s long-standing London label is a love letter from his earliest days raving in rural Scotland. Debuted by McVicar at I Love Acid at Corsica Studios, and road tested at his own Handpicked parties, each track is a paean to communal party spirit that has informed his musical philosophy. Patient but instantly trippy, ‘Careless Drifter’ coaxes dancers into a bottom-heavy bath of bassline and oscillations, revealing an alluring saxophone break that bridges the rawest end of the rave with unexpected opulence. On the flip side, ‘Basic Foundation’ further strips back this instinct for club composition, dropping the tempo while dazzling with razor-sharp synths. The result is primo acid-house chug, alternating between light and shade, as McVicar’s knack for a melody emerges from his modular experiments.

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Harvey McKay delivers a powerful edit of Daniel Avery’s classic Drone Logic, raising the tempo and expanding on the original’s psychedelia with his own distinct aesthetic of soulful, slamming techno. A secret weapon in the DJ sets of both artists in recent months, as well as for Erol Alkan, this much-requested track is now pressed by Phantasy in a run of 500. Noise flies high!

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As one of the most prolific and influential producers of the last thirty years, The Hacker’s imprint on electronic music already spans genres, eras and scene revolutions. And still, there’s more. In spirited collaboration with friend and fellow French journeyman Endrik Schroeder, the first release from The Hacker & Endrik Schroeder Project eschews EBM excess or gritty electro. Instead, two introductory tracks slip into the continuum of evergreen underground techno, influenced in equal part by the digital soul of Detroit, and the futurist experimentations of Sheffield. Quickly escalating from a classic beat to a hoover-rave ascent determined to fill the vacuum of any warehouse, ‘Puissance’ is an unapologetic anthem that doubles as an elegant and impactful introduction to the Hacker & Schroeder partnership. Hypnotising dancers with ever-more forceful acid oscillations, the pair masterfully stave off the pressure with a wide-eyed organ riff, played live and direct from rave heaven. ‘The Voyagers’ contrasts with a cosmic groove, certain to satisfy heads-down bleep purists, while dedicating time and space for the charisma and quirks of this machine-led dance to shine through, including emotional pads and whispering voices, par excellence.

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Roman Flügel returns to Phantasy with his second release of 2024 on Erol Alkan’s beloved London label, ‘No Solutions EP’. Following on from ‘Hotel Kathargo / Energies’, which garnered a summer of support from a typically diverse array of DJs including Gerd Janson, Jamie Jones and Saoirse, ‘No Solutions’ expands Flügel’s contributions to Phantasy into a triple track delight, another generous expression of his lifelong immersion in electronic music culture. Transporting the zeitgeist of future-facing, eighties pop production onto modern dance floors, the title track ‘No Solutions’ is a fizzy, escalating ode to some of Flügel’s very earliest musical influences. Playfully channeling the wide-eyed electronics pioneered by The Human League or Soft Cell, it accelerates into a contemporary funhouse of wild oscillations and dreamy melodies. ‘Sapphire’ shifts this sound palette forward, a steady acid-not-acid bubbler that maintains maximum intrigue and pressure, occasionally breaking through its hazy clouds with pillowy breakdowns and a sense of space-age whimsy. Flügel takes the same palette in a different, more exacting direction on ‘Dragged’, spinning a creeping, Krautrock-esque groove that pays homage to the steady, lifting pulse of German kosmische traditions. Lift off!

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UK-based DJ and producer Wallace debuts on Phantasy Sound with an irresistible double A-side single, ‘Cravings (ft. Love Letters) / Concourse.’ Bubbling with sensuality and euphoria, both tracks reinforce Wallace’s burgeoning reputation as one of electronic music’s most impressive new voices, a crowning moment on Erol Alkan’s long-running label following a stellar run of singles for imprints including Cooking With Palms Trax, Rhythm Section, and Moxie's much-loved On Loop. Led by a longing, inquisitive performance from vocalist and underground house music luminary, Love Letters, ‘Cravings’ builds from a simple throbbing bass line to an eruption of lyrical and musical joy. Exploring onset desire – risk, uncertainty, and ultimately, reward – Wallace’s deep and celebratory arrangement interweaves with Love Letters’ queer perspective to deliver universal satisfaction. While ‘Cravings’ looks inward to find release, ‘Concourse’ goes for the jugular with a darker, more epic sensibility than Wallace has previously indulged. His flawless production touch seamlessly gifts magic to a widescreen techno epic that might not sound out of place on the terrace at Circoloco or else a field near early-nineties Frankfurt, repeatedly working his acid-oriented machines into a lather and conjuring cosmic drama from eerie, choral voices beneath a powerful groove.

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One of electronic music’s most prolific and beloved figures, Roman Flügel checks in to Phantasy for his debut single on Erol Alkan’s equally storied London label, presenting ‘Hotel Karthago / Energies’, two contrasting dancefloor tracks that capture distinct shades of Flügel’s boundless creativity.

Arranged with energy front and centre, ‘Hotel Karthago’ promises to be an essential addition to Flügel’s peerless back catalogue of club classics. Bolting with the requisite tempo of contemporary dance floors, and accelerated by a joyous piano line, this particular property balances the elegance of vintage house with analogue machines operating at their most energetic.

In keen contrast. ‘Energies’ expertly pours a measure of melancholy, teasing out a twinkling melody that recalls the warmth and wistful moods of his classic LPs such as Fatty Folders and Happiness Is Happening. Illuminating and then unravelling with ease, ‘Energies’ concludes in underscoring the Frankfurt-to-Berlin producer’s skill as a composer, as well as a trusted rave alchemist.

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Having already forged a scene-shifting career as a DJ, producer, remixer and collaborator, it was only in 2013 that Erol Alkan released a debut EP, 'Illumination' on his label Phantasy. Its shimmering opener was 'A Hold On Love', the soaring, glossy chords that have remained a staple in Alkan's DJ sets in the decade since.

Upon its tenth anniversary, Alkan presents two subtle but hugely effective reworks that transport one of the London producer's most enduring tracks onto contrasting dance floors.

The '(dyna-mix)' finds canyons of heady dub and psychedelia among halcyon chords, first means tested on wide-eyed crowds at Houghton Festival and throughout Alkan's ongoing 'To The Rhythm' all-nighters. Meanwhile, the '(trip-mix)' subtly lifts the energy for a pacier take, rich in reverie yet without sacrificing the detail and musicality always at the centre of Alkan's still fertile blend of house, electro, techno and alternative sensibilities.

The two tracks are available pressed onto extremely limited edition vinyl featuring manually screen printed sleeves, hand numbered by Erol himself. 300 copies only.

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One of the longest-serving and most consistently intriguing artists within the fold of Phantasy, U returns to the label with another two-track trip of sonic mystery and erratic magic, ‘Parade/Watchers’.

Presented on limited-pressing 12” vinyl with a sleeve riso printed by U with London's Error Press.

With the texture and earthy promise of a psychedelic mulch, ‘Parade’ presents a glorious timelapse of acid-inflected minimalism. Unfolding defiantly at nearly fifteen minutes, U’s driving but subtle composition transports from guttural, electronic uncertainty to a wide-eyed denouement in one illusionary transition.

With inverse effect but no less power, ‘Watchers’ unexpectedly drops listeners into a rough wash of digital hardcore, spinning it’s initial warehouse chords into a collage of decay and regrowth, a nephilim-scaled journey and arguably U’s most ambitious production to date.

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Needing no introduction, The Chemical Brothers make a very special appearance on Phantasy with a limited-edition vinyl pressing of Erol Alkan’s triumphant remix of ‘Goodbye’, a highlight from their recent, Grammy-nominated album, ‘For That Beautiful Feeling’. Masterfully bridging soulful vocals and widescreen techno with their typical psychedelic edge, Alkan’s interpretation demonstrates his unique brotherhood with Tom Rowlands and Ed Simons. Across a near ten-minute journey, Alkan pushes the Brothers’ irresistible synth line further into dissonant analogue bliss, which coupled with celestial breakdowns, already counts as a personal favourite in the London DJ and producer’s diverse, enviable back catalogue of reworks. The other side of the record includes Alkan's previously unreleased instrumental.

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