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Workshop, Trax, Vol. 4 Fantastic Voyage

Empty Hard Drive EP Jonny Sum

MizzMegan's Mile High Edits MizzMegan

Stepping Stones Tassone

Volume 10 Now That's What I Call Bootlegs

Dusty Dan - BNGRZ007 bangersonly.com

Being With U Is Amazing Greg May

Don't Know Why option4, Justin Jay

Time, Space & Feelings Morelia

Justin Jay's Scary Edits and Nice Bootlegs Fantastic Edits

Justin Jay - BNGRZ006 bangersonly.com

HACKED001 Various Artists

Too Good B Goody & Uri Allgood

Beefy Greg May

i'm in love Justin Jay & option4

Up All Night Neumonic

Fantastic Voyage Los Angeles, California

The Fantastic Manifesto: As we set forth on this fantastic voyage, we seek simple yet significant pleasures: friendship, fun, freedom. We believe in inclusion, not exclusion. We’re here for amusement, not status. Expression over perfection. No one can embark on a fantastic voyage alone, so come join us and make it your own. Here, we are all captains. ...   more

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A Colorful History of Justin Jay’s Fantastic Voyage Label

California’s music scene exudes a charm of its own – expelling a wave of artists that create in a unique vein of free expression. Emerging from the West Coast shores of America, Justin Jay and his Fantastic Voyage label have continued to provide uplifting tunes and a freewheeling platform that has been widely embraced amongst its artists and the electronic community as a whole.

On the eve of the label’s five year anniversary, MP3 MAG took a deep dive into Fantastic Voyage’s history, and spoke with Jay and his troupe of creatives about the label’s anniversary and future.

For the last five years, Justin Jay’s Fantastic Voyage has served as a platform for creativity. It has dazzled not with loyalty to a genre, but rather a feeling of wonder, genuine expression and freeform artistry. 

To celebrate this milestone anniversary, the label is rolling out ‘ Fantastic Voyage: 5 Year Compilation ’ – an eclectic and diverse three-disc, 100+ track  journey through sound. Once again, listeners expending a specific genre experience will be pleasantly surprised. The project finds a wide-ranging offering from a group of longtime labelmates, as well as first time contributors, to commemorate the spirit of the imprint’s openness to aspiring artists.

“When my friends and I sit down to make music, we don’t predetermine what style or genre our music will be ,” Justin Jay told MP3 MAG. “The best moments in the studio happen when you’re just having fun expressing yourself without any judgement. The one catch is sometimes you end up making things that don’t fit the regular boxes. Most other labels look for music that fits “their box.” We had no choice but to start our own label because my friends and I were sitting on all this awesome stuff that no one would sign.”

Long before his cascading curls and label success, Justin Jay was an aspiring DJ living in Southern California. Kickstarting his career while just a student, Jay became the youngest member of the L.A.-based Dirtybird label in 2011 via his EP, How Goes the Dynamite? 

This early nod from America’s top tech house imprint and its figurehead, Claude VonStroke, would serve as foreshadowing towards his future potential and success, but his true journey as innovator, and leader, came a few years later.

In 2013, the producer began attending the University of Southern California, where he would go on to meet Josh Taylor and Benny Bridges. Bridges and Taylor were playing in a local indie band, around the same time Jay’s profile as a Dirtybird DJ was taking off. Even still, the three found a synergy within their love for music and simply having fun. 

The trio began practicing and recording together, developing a fusion of instrumental house, techno and indie records riddled with live instruments and emotive songwriting.

“I definitely didn’t envision Fantastic Voyage becoming what it has… I didn’t even really understand what a label did at the time,” Benny Bridges told MP3 MAG . “It has been this very free form, organic entity that has never really been defined by one thing. It has grown and changed with us and is still continuing to do so.”

As Justin Jay began DJing more regularly across town, the trio started bringing their setup to life on stage and performing together live. In California especially, the group saw a warm response to this different style of music that offers singer-songwriter sensibilities backboned by electronic production. Eventually, the group would go on to tour and play as Justin Jay’s Fantastic Voyage .

The band expanded as their group of DJs and artist friends grew. At full force, the band offers a tech-house producer, ukulele player, a drummer, guitarist, and on occasion, a trumpeter, saxophonist, and bassist. In 2016, they made their official debut and announced the birth of the label with their first project, Fantastic Voyage Pt. 1.

While Justin Jay and others in the group have released with more mainstream imprints, Fantastic Voyage arose to offer a platform for up-and-coming producers and underground electronic verticals from around the world. This has grown to encompass not just House and West Coast indie, but bubbling styles of Techno and House from across America and Europe.

“I think what makes FV stand out to me is the ethos of being a platform for individuals to experience musical freedom,” Bridges added. “The machine of the music industry can oftentimes color the creative process, and FV started with the intent to have freedom be at the forefront.”

In total, the group has written, produced and released three Fantastic Voyage albums together – amassing millions of plays on Spotify and helping grow the label’s reach to afford bi-monthly releases. Their group has toured in Asia, Australia, and America, and have taken the stage at festivals like Bonnaroo, Electric Forest, Holy Ship, and the Do Lab at Coachella. 

Its release slate has been headlined by promising acts like Ardalan and Kill Frenzy, while aiding the rise of artists like Henry Was, PVLMS, and Choopsie. The label frequently drops sample packs and bootlegs, part of their full catalogue offered on FV’s Bandcamp .

“I’ve really loved working with Fantastic Voyage,” said up-and-comer, Choopsie. “They really care about all of the music they release and have created such a great community of artists. Everyone at Fantastic Voyage is so kind and supportive. I am very grateful to have gotten to work with them.”

In 2021, the imprint has largely eclipsed any milestones they had imagined as college kids, and is somehow celebrating its five year anniversary as a label and family. This kicked off last month with Disc 1 of a three-disk, ‘Fantastic Voyage: 5 Year Compilation’ – broken up into 100-tracks of pop, hipster European, indie electronica, and West Coast house and techno. 

View this post on Instagram A post shared by Fantastic Voyage (@fantasticvoyagemusic)

The project was led by the single, “Colors,” which features pop/R&B vocalist and FV-alumni, Oli-J. The track highlights the anniversary’s core theme and message of “showing your true” self. The single encapsulates the label’s peak creativity – combing through their various styles to create a combined sense of sound.

“Fantastic Voyage has had the effect of allowing me to be in the presence of amazing artists,” said Oli-J. “The label has also opened my eyes to house music in more depth and love for it. Knowing every artist for this complication got inspired to create a beautiful piece of their own music, really means a lot to my artistry.”

“I think ‘Colors’ was chosen as the lead single because it gave every artist the encouragement to truly let themselves shine in their music. I just want people to hear this song and know that they are the best version of who they are.” 

Disc 2 is packed with the wide-reaching styles of House, UK garage and Disco – key pillars in the Fantastic Voyage universe. As found throughout the compilation, listeners can explore tracks from long-time label favorites and new-comers alike. Half of the songs on the compilation are derived from students who worked with Jay throughout quarantine via his virtual production workshops. 

Justin Jay’s courses became a key asset to a cast of rising producers in 2020, with the producer pouring his knowledge in over three terms that spanned one weekend, five weeks, and six months. At its core, the classes projected hope for young producers to stop being critical of their work, and let the creativity flow. 

I really look up to Justin, and I wouldn’t be where I am today if it weren’t for Justin’s Zoom class a year ago. Choopsie

On the final compilation disc, due out December 3, Justin Jay previews his growing interest in left-of-center club music and rave revival anthems, self-dubbed as ‘Nu Rave’. These fast-paced productions combine modern styles with old-school rave nostalgia, a melting pot of influences that span footwork, breaks, happy hardcore and more. The disc features notable names such as Nikki Nair, AK Sports, Anna Morgan, DJ Earl, Black Loops and Stones Taro.

“ The theme of the comp is “showing your true colors ,’” said Justin Jay. “ We wanted everyone to have a chance to share their art, no matter the style or genre. That’s what the label stands for, giving artists a chance to be themselves.”

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Saltus: How Community Shaped the Producer, Manager & Promoter

Justin Jay’s Fantastic Voyage Releases Disc 2 Compilation feat. Sam Van Horn, Benny Bridges, Danielle Sadcliffe, and Danny Goliger

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Fantastic Voyage: Polydor on the second coming of ABBA

Polydor co-president Tom March and marketing director Stephen Hallowes have given Music Week the inside story on ABBA's incredible comeback. 

Released on November 5, Voyage has already gone platinum  in the UK with sales of 331,657, according to the Official Charts Company. 

For March, working with the pop legends on the landmark campaign - the Swedish group's first new LP since 1981 - has been a career highlight. 

"The journey started three or so years ago, when Benny [Andersson] and Bjorn [Ulvaeus] came over and played us a couple of songs," he said. "We had to sit on that secret - that they'd actually been making some music together - and to then have a chance to work on their first album in 40 years is something we could never really have dreamed of.

"We had to keep it very quiet. There were little leaks here and there and we knew any tiny bit of news would just get seized upon, so it was really important to keep everything to a very small circle of trust because we knew how important it would be to have a huge launch moment. It came together brilliantly in the end, but it took a lot of work behind the scenes from a core group of people to get to that point."

The idea for the launch was to create as much noise in one hit as possible Tom March, Polydor

ABBA partnered with YouTube for the live announcement of their return in September , and also premiered the first music from Voyage on the platform.

"The idea for the launch was to create as much noise in one hit as possible, because you know you will only get limited time with an artist like ABBA, so everything you do has to have impact," said March. "The YouTube content went viral and we hit the Six O'Clock News, the 10 O'Clock News and the cover of every single national newspaper. When have you ever seen that?

"There was no comeback or launch moment in music [from the past] that we could link this to, so we thought, 'What's the biggest thing we can think of?' And it was like, 'Right, how do we make it as big as when Star Wars came back?' And I think we delivered that kind of impact. Our job was to tell the world ABBA were back and I think we did that."

The album raced out of the blocks, rocketing to No.1 with a huge first week sale of 203,909 in the UK and sold in excess of one million worldwide.  Voyage also broke a 21st century record for weekly vinyl units  (29,891 copies), but its sales of CDs across multiple editions were almost five times greater, at 148,471. 

"For us to get over 200,000 albums week one was a real target, because we knew that only Adele, Ed [Sheeran] and One Direction had achieved that in the last decade," explained March. "To be there with those artists was exactly where we wanted to be."

Over the years, their music has been reintroduced to people through various mediums Stephen Hallowes, Polydor

Their streaming figures are similarly impressive - the band have in the region of 20 million monthly listeners on Spotify.

"Over the years, their music has been reintroduced to people through various mediums," explained Hallowes. "In the '90s, it was [1994 film] The Adventures Of Priscilla, Queen Of The Desert, the original Mamma Mia! stage show and Muriel's Wedding. In the noughties, it was the Mamma Mia! the movie, and then in the [2010s] there was the second Mamma Mia! movie .

"When we were strategising the campaign, we were looking at their streaming data and, actually, their biggest audience on Spotify was 18 to 24-year-olds. Compared to all the other legendary acts on Universal, they had by far the biggest young audience and their audience indexed far younger, which makes sense if you think about the way their music has been reintroduced to generations of people over the last 40 years. So we knew there'd be a streaming appetite for new music."

He added: "It was a completely unique situation to have such a popular act who hadn't released a note of music in 40 years. The curiosity factor and the news story around that was something that we'd never seen before and it made it into such a moment when it actually launched."

Voyage's dual lead singles, Don't Shut Me Down (100,005 sales, OCC) and I Still Have Faith In You (70,038 sales), both charted inside the Top 20, peaking at No.9 and No.14, respectively. 

"We knew the new songs would stream, but I was not anticipating that level of success on the singles," said March. "At that point, we knew it wasn't just going to hit their older fans and it had gone beyond just being a curiosity thing. We could see these songs were connecting to a young streaming audience.

"The week before we relaunched with new music, the band joined TikTok and spent a lot of time leaning into the platform, so they've not just embraced the standard conventional promo, but they're engaging with the new platforms too and they've really enjoyed it."

I'm hopeful they will win Best International Group at the BRITs Tom March, Polydor

March revealed it was Universal Music UK chairman and CEO David Joseph who drove the "last minute" decision to release two songs on the same day.

"We'd been planning for a long time to go with the one single and it was David's call to say, 'We should show both sides of ABBA here,'" said March. "For about a year, we'd been planning to have [I Still Have Faith In You] come first, but it was absolutely the right call because [Don't Shut Me Down] connected to the streaming audience. It showed both sides of the group and created even more excitement. People could dive in and stream two songs and they fuelled each other, and that fuelled the conversation."

More than 300,000 tickets have been sold to date to see the band perform digitally with a live 10-piece band at the purpose-built ABBA Arena in London from May to December 2022. The digital versions of  ABBA  were created following months of motion-capture and performance techniques with the four band members and an 850-strong team from Industrial Light & Magic, the company founded by George Lucas, in the company’s first foray into music.

"They've sold a huge amount of tickets to that already and I think we will go with another single from the album to radio early next year to keep things moving and work that into the show," noted Hallowes.

And with Voyage still entrenched in the Top 5 more than a month after its release, March is hopeful ABBA's success will be recognised come awards season.

"I'm hopeful they will win Best International Group at the BRITs ," he said. "I think that would be a huge moment and something they massively deserve." 

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• VARIOUS: 1962 British Hit Parade (Fantastic Voyage)
• February 10, 2013
• By Bill Buckley

Each year specialist oldies label Fantastic Voyage releases a massive retrospective of the British hit parade as it stood fifty years ago. They do a fabulous job chronicling a Golden Age when singles really did matter. Half a century ago vinyl 45s retailed for around 6/8d (that’s less than 35p in the new-fangled money) and school kids and teenagers would save their pennies to buy their favourites while older generations could easily afford a record or two a week to play on their new fancy radiograms or simpler Dansette “multi-change” record players. Consequently (unlike today) the big chart hits did move millions of units and a place on the “Top 20” was hugely coveted – for obvious financial reasons and for the fame it brought with it. The week end charts were eagerly awaited by fans and music biz insiders alike and weekly papers (like NME, Melody Maker and Disc) that carried the charts and chart associated gossip sold in vast quantities.

This new Fantastic Voyage 2 volume résumé of the 1962 charts allows us to enter that long-disappeared magical world and what a great picture it paints. Across 10 CDs you get the real flavour of what pop was like before the British beat boom and the soul explosion ripped it all apart. In 1962 soul was there – but very much in its infancy. Remember, back in ’62 few soul records were released in the UK and those that did were usually on smaller labels like Oriole (one of the first licensers of Motown music) and subsidiaries of the majors (Pye International, London etc). The soul hits of 1962 included Ray Charles’ lovely ‘I Can’t Stop Loving You’, The Shirelles’ ‘Soldier Boy’, Gene Chandler’s ‘Duke Of Earl’ and Sam Cooke’s ‘Twisting The Night Away’ –reflecting the popularity of that novelty dance. In fact in 1962, 9 chart hits were twist-related… even Frank Sinatra got in on the act! Yes, it was a short lived novelty but the charts were stuffed with loads of other novelty items like Bernard Cribbins’ ‘Hole In The Ground’. Another feature of the early 60s was the number of charting cover versions. Here for instance there are a number of versions of the two Drifters’ songs- ‘Up On The Roof’ and ‘When My Little Girls Is Smiling’.

The excellent sleeve notes provide all the details, though, as an Evertonian, I’m surprised that writer, Stuart Colman doesn’t mention that for the last 50 years the ‘Theme From Z Cars’ has been the tune to which Everton FC run out at Goodison Park. Yes, only a minor and partisan point which in no way devalues the panorama that the music provides. It’s all here – the great, the good, the one-hit wonders, the novelties, the covers… everything – even a little foot tapper called ‘Love Me Do’ from a group with a weird name, The Beatles… now I wonder what ever happened to them?

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Justin Jay launches Fantastic Voyage Records with 'Fantastic Edits' EP

Bringing some jj vibes to some old favourites..

Los Angeles-based producer/DJ Justin Jay has launched his Fantastic Voyage record label with a bang, unveiling his long-awaited  Fantastic Edits EP, featuring a couple of previously unreleased tunes that Justin Jay frequently populates his sets with. As the first release on Fantastic Voyage, the EP sets the tone for future releases on the label, and he's not messing around with a couple of slamming re-works of HNNY's  Sneeze and and Tag Team's Whoomp, to go with a few others. Take a listen below and check the rest out HERE .

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Fantastic Voyage Various Artists (Saint Etienne)

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By the turn of the 80s, the impact of David Bowie’s ground-breaking Berlin recordings – the synths, the alienation, the drily futuristic production - was being felt on music across Europe. What’s more, the records being made were reflecting back and influencing Bowie’s own work – 1979’s “Lodger” and 1980’s “Scary Monsters” owed a debt to strands of German kosmische (Holger Czukay), new electronica (Patrick Cowley, Harald Grosskopf), and the latest works from old friends and rivals like Robert Fripp, Peter Gabriel and Scott Walker, all of whom had been re-energised by the fizz of 1977.

Compiled by Saint Etienne’s Bob Stanley and the BFI’s Jason Wood, “Fantastic Voyage” is the companion album to their hugely successful “Café Exil” collection, which imagined the soundtrack to David Bowie and Iggy Pop’s trans-European train journeys in the mid-to-late seventies. “Fantastic Voyage” is what happened next.

Bowie’s influences and Bowie’s own influence were rebounding off each other as the 70s ended and the 80s began, notably in the emergent synthpop and new romantic scenes as well as through the music of enigmatic acts like the Associates and post-punk pioneers like Cabaret Voltaire.

Like “Low” and “Heroes”, some of the tracks on “Fantastic Voyage” are spiked with tension (Grauzone’s ‘Eisbär’) while some share those albums’ sense of travel (Simple Minds’ ‘Theme for Great Cities’, Ryuichi Sakamoto’s ‘Riot in Lagos’) and others find common ground with “Lodger’s” dark, subtle humour (Thomas Leer’s ‘Tight as a Drum’, Fripp’s ‘Exposure’).

This is the thrilling, adventurous sound of European music before the watershed moment when Bowie would abandon art-pop for America and the emerging world of MTV with “Let’s Dance” in 1983. “Fantastic Voyage” soundtracks the few brief years when the echo chamber of Bowie, his inspirations, and his followers created an exciting, borderless music that was more than ready for a challenge to Anglo American influences.

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