1980s Vinyl 227 Items

Limited to 999 hand-silkscreened numbered copies!

Vocoder were a quartet from Zaragoza, Spain formed in 1981. Keyboardists Antonio Laval, Alfonso Olarte and Antonio Tenas met while attending university, and were later joined by vocalist Pilar Pellicer. They recorded several demos with synthesizers, sequencers and drum machines, creating a soundtrack for the clubs and dance floors. After sending demos to various record companies, they signed a deal with Aviador Dro's sublabel Neón Danza and released two EPs, "What Happens Now"/"Radio" in 1984, "Mindanao"/"Amor de Robot" in 1985 and a self-titled LP which was produced by Michel Huygen (Neuronium) in 1987. Vocoder also appeared on the TV program La Bola De Cristal, presenting their music video for "What Happens Now," in which the band danced in a supermarket with a shopping cart full of synthesizers. The group mutually disbanded in 1988 and continued to organize concerts for other groups touring in Spain. Cuadro Sinóptico compiles both two-song 12" maxi singles as one four-song EP. All four songs were recorded during 1984-85 at Doublewtronics Studios in Madrid, Spain, using the most advanced and sophisticated techniques of time in digital recording and Direct Metal Mastering (DMM). The band utilized many professional synthesizers of the time: Roland Juno 60, Prophet V, Korg Poly 61, Yamaha DX-7, Roland TR-909 and the Linn Drum, which was used by most Italo Disco artists. These songs were recorded in the highest fidelity with disc jockeys in mind. Genuinely catchy, Vocoder combined soaring melodies with cybernetic coldness. A futuristic sound for the modern age topped with Pilar's charismatic vocals. Lyrically they address robotic love, disco dancing, and the tropical island of Mindanao, and sing in Spanish, English and French. All songs on Cuadro Sinóptico have been remastered from the original reel to reel master tapes for vinyl by George Horn at Fantasy Studios in Berkeley, CA. Each LP includes a double-sided insert with photos, lyrics and liner notes by Flemming Dalum, a Danish DJ who introduced much of the world to Vocoder in 2008 on his “French Spanish Italo Connection” mix. Vocoder want you to barricade yourself in the discotheques and dance away the depression.

Vinyl with a couple of light scuffs

Crash Course In Science are a post punk band that formed in 1979 in Philadelphia. The band members, Dale Feliciello, Mallory Yago and Michael Zodorozny, met while attending art school, where they began to experiment with crude electronics and off-beat lyrics. CCIS avoided

conventional instrumentation by using toy instruments and kitchen appliances to augment the distorted guitar, drums and synthesized beats. Their first single, “Cakes in the Home” was released in 1979 followed by a 4-song 12″ EP “Signals From Pier Thirteen” in 1981.


“Jump Over Barrels” was recorded at the Third Story Studio in Philadelphia in 1981, one year after “Signals From Pier Thirteen”. The song remained unmixed and unreleased at that time for a proposed album titled “Near Marineland”. Lyrically the song tackles overcoming obstacles, self imposed or otherwise, with vocal interplay between Michael and Mallory. On the A Side is the original mix and a demo mix from 1981. Then on the flip is a brand new remix by prolific Ann Arbor producer Charles Manier, a pseudonym of Tadd Mullinix, who toughens up the track. Also included is an unreleased demo version of the song from 1980, accentuating the raw and skeletal nature of the track.


All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. It is in a custom-made jacket by our in-house designer Eloise Leigh that incorporates waveform-esque squiggles jumping over abstract barrel symbols, plus a postcard with lyrics and notes.

Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave." “Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.

If The Fall truly is a cult band, then Slates both benefits from and reinforces such shrouded obsessions. In presenting these six particular songs as a 10" EP, the inherent and attractive difficulty of The Fall's sound is made physical, framing the urgency of their singles from this period (notably How I Wrote 'Elastic Man' and Lie Dream of a Casino Soul) alongside lengthy rumblings normally restricted to long players.


The tumbling and phased "Middle Mass" begins on an incredible high note, segueing into the snake-charm hypnotism of "An Older Lover Etc." "Slates, Slags, Etc." is built on stretched VU-inspired riffing, complete with ace feedback bleed that doubtlessly went on long after fade-out. Ultimately, it's the piercing chimes of guitar and marching drum grind of "Prole Art Threat" that elevates Slates beyond oddity. Truly one of Mark E. Smith's finest, busiest and most enigmatic performances, equally matched by a band at the peak of their powers.


Superior Viaduct's edition is the first time that Slates has been available on vinyl domestically since its initial release in 1981. Liner notes by Brian Turner.

Splits in seams.

Picture Disc Edition. Still sealed. Limited edition numbered. Slight corner wear. 2020 reissue.

Still sealed. 2017 reissue.

Gatefold sleeve with printed inner sleeves.
Includes 12"x12" booklet of lyrics, photographs and credits.
Download voucher.

Dark Entries is honored to finally present the first ever official vinyl reissue of Space Museum by Solid Space. Solid Space was the British duo of Dan Goldstein (keyboards, vocals) and Matthew "MAF" Vosburgh (guitar, bass, keyboards, vocals) formed in 1980. Dan and Matthew met at the age of 11 while attending school in north London. In late 1978 at at the age of 14, they formed EXHIBIT 'A' with Paul “Platypus” and Andrew “Lunchbox” Bynghall. They recorded two EPs in 1979 and 1980, self-released on Irrelevant Wombat Records and appeared on The Thing From The Crypt compilation. After the dissolution of the group, Mathew started taking his guitar over to Dan’s house where he’d play his Casio MT-30 and they would record songs. Eventually a second hand drum machine and Wasp synthesizer were acquired from classified ads in Melody Maker and the Solid Space sound was born. By this time they were just turning 18 and finally found the freedom to make the music they’d had in their heads. Over the course of the next two years the band assembled eleven bedroom recordings that would become one of the most cherished DIY obscurities of its kind. Their debut album Space Museum was released in 1982 on cassette by In Phaze Records. The band's music and lyrics were heavily indebted to science fiction, in particular the 1960s television series Doctor Who. Space Museum is an unveiling of atmospheric, minimalist post punk supported by bright melodies. The music combines drum machines and synths with acoustic guitar and toy drums whilst also experimenting with samples between tracks. Representing a bubbling spirit within the underground, they foreshadowed an entire world of independent music which would emerge across the '80s and well into the '90s. For this reissue we’ve included two bonus tracks from the band’s archive, “Platform 6” originally released on the B-side of the second single by Exhibit ‘A’, this song features only Dan and Matthew and is the first Solid Space track ever recorded. “Tutti Lo Sanno” is a cover of In Phaze label mates Marine Girls, though the lyrics have been changed to suit the gender of the new singer.


Each song has been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is sleeved in a replica of the cassette artwork featuring the Cybermen and Jamie from the Doctor Who episode "The Wheel in Space". Every copy includes a double sided 11x11 insert with lyrics, notes and never before seen photographs of the band taken by Maf as well as a postcard featuring an original advert for the cassette.

Limited edition for Record Store Day 2018!

Polaroid were an Italian post-punk/new wave band, formed in Turin in 1981. The original lineup of the band consisted of Marcello Zavatto (voice, guitar), Massimo Vagnarelli (bass, drum-machine), Evandro Fornasier (guitar), Claudio Vagnarelli (synthersizer) and Marco Farano (Drums). Polaroid made their debut with the cassette 6-track EP ‘Senza Respiro’, self-released in 1984. Influenced by Bauhaus, Joy Division, The Cure, Pere Ubu as well as Chic and Talking Heads. The music was dark and cold, but also melodic especially with regards to guitars and voices. At the end of 1984 the band added vocalist Michele Cantoblundo while drummer Marco left and was replaced by a Roland TR-909. With Michele began a period of very dark and poetic music, influenced also by bands like Red Lorry Yellow Lorry and The Sisters of Mercy. The band peacefully broke-up in 1987. This vinyl re-issue of ‘Senza Respiro’ contains all 6 original songs with 4 bonus tracks from the band’s later period. All songs have been remastered by George Horn at Fantasy Studios. The record is housed in custom jacket designed by Eloise Leigh and includes 4 polaroid sized postcards with photos notes and lyrics.

Piano & A Microphone 1983 is set to feature a previously unreleased cassette recording of Prince at the piano at his home studio in Minnesota captured in 1983.

“This raw, intimate recording, which took place at the start of Prince’s career right before he achieved international stardom, is similar in format to the Piano & A Microphone Tour that he ended his career with in 2016,” said Prince Estate entertainment adviser Troy Carter. “The Estate is excited to be able to give fans a glimpse of his evolution and show how his career ultimately came full circle with just him and his piano.”

The private rehearsal provides a rare, intimate glimpse into Prince’s creative process as he worked through songs which include ’17 Days‘ and ‘Purple Rain’ (neither of which would be released until 1984), a cover of Joni Mitchell’s ‘A Case Of You‘, ‘Strange Relationship‘ (not released until 1987 on his critically acclaimed Sign O’ The Times album), and ‘International Lover’.

The album also includes a rare recording of the 19th Century spiritual ‘Mary Don’t You Weep’, which will be featured during the end credits of Spike Lee’s BlacKKKlansman in cinemas August 2018. For fans of Prince’s spontaneous live medleys, tracks 1-7 of the album are presented in that same format as they were originally recorded.

The album cover photo captures a rare view of Prince backstage during the 1999 tour. The photo was taken by Prince’s trusted photographer and creative collaborator Allen Beaulieu who worked closely with Prince between 1979-1984. Allen’s work with Prince includes the cover shots for the Dirty Mind and Controversy albums and iconic promotional photos for the 1999 album.

Piano & A Microphone 1983 is set to feature a previously unreleased cassette recording of Prince at the piano at his home studio in Minnesota captured in 1983.

“This raw, intimate recording, which took place at the start of Prince’s career right before he achieved international stardom, is similar in format to the Piano & A Microphone Tour that he ended his career with in 2016,” said Prince Estate entertainment adviser Troy Carter. “The Estate is excited to be able to give fans a glimpse of his evolution and show how his career ultimately came full circle with just him and his piano.”

The private rehearsal provides a rare, intimate glimpse into Prince’s creative process as he worked through songs which include ’17 Days‘ and ‘Purple Rain’ (neither of which would be released until 1984), a cover of Joni Mitchell’s ‘A Case Of You‘, ‘Strange Relationship‘ (not released until 1987 on his critically acclaimed Sign O’ The Times album), and ‘International Lover’.

The album also includes a rare recording of the 19th Century spiritual ‘Mary Don’t You Weep’, which will be featured during the end credits of Spike Lee’s BlacKKKlansman in cinemas August 2018. For fans of Prince’s spontaneous live medleys, tracks 1-7 of the album are presented in that same format as they were originally recorded.

The album cover photo captures a rare view of Prince backstage during the 1999 tour. The photo was taken by Prince’s trusted photographer and creative collaborator Allen Beaulieu who worked closely with Prince between 1979-1984. Allen’s work with Prince includes the cover shots for the Dirty Mind and Controversy albums and iconic promotional photos for the 1999 album.

Limited to 500 copies.

Reissue of David Microwave solo material from 1980-83. David Javelosa (aka David Microwave), founder of LOS MicrowaveS with Meg Brazil and Todd Rosa, were a San Francisco trio in which synthesizers predominated. Although they issued 45s as early as 1979, their debut album came out in 1981, by which time leader Javelosa had done a five-song, 12-inch EP on his own, using musicians outside his band. Javelosa's solo effort offers straightforward synthesized pop music with swirling keyboards (including familiar-sounding organ), acoustic drums and engaging vocals. The record shows polish, but retains a slightly amateurish sense, making it paradoxically complex and simple at the same time.

Reissue on black vinyl limited to 200 copies.

Vinyl close to NM.

• Cover art by famed artist Hiroshi Nagai
• Extensive liner notes and bios
• Compiled by Andy Cabic (Vetiver), Zach Cowie (DJ & music supervisor) and Mark “Frosty” McNeill (dublab)
• 2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card
• Remastered audio

Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.

Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.

Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.

Limited to 500 copies.

We are proud to release a compilation from British post-punk/Futurist group Ghosts of Dance formed in North Devon in 1981. The members were Yvette Norris (vocals), Kevin Maynard (drums), Daryl Hunt (bass), Mark Butcher (keyboards), and Pete Heaton (guitar). Ghosts of Dance took their name from the song 'Ghosts' by David Sylvian which appeared on the first Japan album. After playing an early gig in Barnstaple, a gentleman in the audience named Richard Newman expressed his interest to start a record label and release their music. Richard scheduled a recording session for the band at Otter Studios in Georgeham with producer Harry Williamson, son of Henry Williamson, member of progressive rock band Gong. The debut single ‘Ghosts of Dance’ was released in 1982 on Plastic Canvas Records to mixed reviews as it was very different from anything being released at the time. Our compilation includes their debut single along with 9 bonus tracks recorded between 1981 and 1983 on vinyl for the first time. The band call themselves “Vocal Trance Music” on the 7” sleeve credits and it’s accurate. We call it melancholic pop with gloomy atmosphere and dream-like melodies. The final track shows the band moving in a New Romantic direction with Mark taking over the main vocals. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a jacket featuring original artwork by John Hurford and includes an insert with photos, lyrics and liner notes by Pete Heaton.

Minimal Wave presents an LP of tracks by Belgian synthwave luminaries The Misz, entitled The Lonely Crowd. The Misz formed in Gent in 1983 by Jan Van den Broeke and Dries Dekocker at a time when they had both just relocated from the country. They lived on the same street and collaborated freely with the limited equipment they had, which always centered around the Fostex 250 4-track tape recorder. They used an unknown monophonic synthesizer, casio synths, roland drum machines, hand drums and guitars through effects pedals, improvising with their voices and often and included friends for additional voices and sounds. They captured these sonic experiments and sometimes released them on cassette in editions of 100-200. They were also included on numerous cassette compilations throughout the 1980s on labels like Mad In Belgium, The Cassette Factory, 3RIO Tapes, Minimart production, Fraction Studio, Cauchy Productions, Home Product, R.R. products, ZNS Tapes, and Body Records.

The Misz described themselves as young, immature and bit strange yet totally bold and fearless. They sang about what surrounded them from world politics and environmental catastrophes to love and lust. The songs on The Lonely Crowd span from various cassette releases and have been remastered from their original reel to reel tapes.

The LP is pressed on 180 gram vinyl as a limited edition of 600 copies, the first 100 are in white and the remaining 500 in black. The cover and inner sleeve are printed on matte heavy card stock featuring photographic collages, typography and design by Peter Miles.

2019 vinyl edition with printed inner-sleeve (with the lyrics). Includes a bonus 7″ of original track ‘Chacun fait (C’ qui lui plaît). Spring 1982: Grégory Ken and Valli aka Chagrin d’Amour bursts into the scene with ‘Chacun fait (C’qui lui plaît)’. The track gets 9 airplays a day on the newly created NRJ radio and 35 000 copies of the 7″ are sold every day ! In the blink of an eye, a team of experienced musicians is gathered around prominent sound engineer Dominique Blanc-Francard: Slim Pezin (guitars), Bernard Paganotti (bass), Philippe Drai (drums) and Jean-Pierre Sabar (keyboards). After a few days in New-York with Richard Avedon who shot the cover pictures the album is ready and set to become a cult release over more than three decades.

Previously unreleased material from Steve’s private recordings, remastered from the original masters, 140g vinyl, 4 page photography insert with liner notes. Three emotional years in the making, Be With and Efficient Space finally present Steve Hiett’s Girls In The Grass. Pressed alongside the long awaited reissue of his one-shot masterpiece Down On The Road By The Beach, these ten balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist’s Paris Tapes (1986-1997).