1980s Vinyl 116 Items

Minimal Wave proudly presents a newly remastered deluxe double album of archival material by pioneering 80s minimal electronic duo Oppenheimer Analysis. Oppenheimer Analysis formed in London, England in 1982 by Andy Oppenheimer and Martin Lloyd. Their first meeting though was at the 1979 World Science Fiction Convention in Brighton. They quickly became good friends, sharing an interest in the work of David Bowie, electronic music and early synthesizer bands such as the Human League and Soft Cell. They also shared a love of old science fiction movies, 1950s graphics and comic book imagery and a fascination with post-World War II propaganda, the politics and aesthetics of the Cold War, and the social impact of the atomic bomb. Over the next few years Andy and Martin frequented the growing club scene, including Studio 21 on Oxford Street, and became involved in the developing Futurist and New Romantic style sub-cultures. During this period Martin recorded as Analysis, both alone and with David Rome of Drinking Electricity. They released their first single, “Surface Tension/Connections” on David’s Survival label in 1981. In 1982, Oppenheimer Analysis began writing and recording together at Feedback Studio in Battersea, and performed several times at The Bell, Islington, the 1983 World David Bowie Convention in Hammersmith, the Starzone Birthday Party at Camden Palace, the 1984 European Science Fiction Convention in Brighton and other live venues. Their first demo tape and twelve song “New Mexico” cassette were sold at gigs and by mail-order, and were reviewed in Melody Maker, Sounds and Soundmaker. For the years to follow, Oppenheimer Analysis became recognized among electro-music aficionados as a pioneering duo who influenced countless other bands during the club and home-recording era of the early 1980s and beyond. Their cassettes became massively collectible. In 2005 they re-formed with the release of a self-titled four song 12” EP of selections from the New Mexico cassette, including “Cold War” and “The Devil’s Dancers”. This marked the first release on Minimal Wave. Now in 2015, we’re happy to present the entire New Mexico collection, newly remastered and cut to vinyl for the first time ever, to celebrate our 10 year anniversary. This first edition of 1000 copies is pressed on deluxe ‘nuclear’ style black and white 160 gram vinyl, housed in a glossy gatefold silver and black printed sleeve, featuring all the song lyrics on the inside of the sleeve. First release date: May 16th, 2015. This quintessential reissue has been produced in loving memory of Martin Lloyd.

This 1983 album appears on vinyl for the first time.

30th anniversary of Neneh Cherry’s classic hit album Raw Like Sushi (1989),“an unorthodox and brilliantly daring blend of R&B, rap, pop, and dance music”.
The album features 5 singles - includes the worldwide smash hit single ‘Buffalo Stance’ (number 1 US Dance Chart) as well as hit singles – ‘Manchild’ produced by Massive Attack’s Robert Del Naja, ‘Kisses On The Wind’, ‘Heart’ & ‘Inna City Mamma’. One of the most important records of all-time. Listed as one of the "1001 Albums You Must Hear Before You Die".

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.

2024 Repress

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).

Exclusively for Record Store Day 2023 comes Rare Birds ‘A Flock Of Seagulls’ B-Sides, Edits and Alternate Mixes. Pressed on transparent vinyl with the original A Flock Of Seagulls album sleeve design reworked for this limited edition release; the LP includes b-sides of singles from the original album, including ‘Tanglimara’ (b-side to ‘Telecommunication’), alongside the single ‘(It’s Not Me) Talking’, which never appeared on the original album, and single edits and mixes of their most popular hits including ‘I ran’ and ‘Modern Love Is Automatic’.

Prince‘ ikonic Album Sign O’ The Times, remastered by Prince‘ Mastering-Engineer Bernie Grundman.

• 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.

In 1985, NOW Music released 'NOW Dance: The 12' Mixes', a 20-track compilation that included the extended or remix versions of some of the biggest recent hits and popular club tracks. This was followed a year later by a second 20-track volume, and in 1989, a third. NOW Music proudly present 'NOW Dance - The 80s'; a selection of 26 tracks that appeared on those three original 'NOW Dance' albums - all in their 12-inch, extended or remixed versions across a 3LP set, pressed on red vinyl.

* The latest chapter in the acclaimed Pacific Breeze series! * Artwork by renowned illustrator Hiroshi Nagai * Compiled by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab) * Newly remastered audio * 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI * Extensive artist bios by Yosuke Kitazawa * Digital mockups are not an exact representation of colors

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

* The latest chapter in the acclaimed Pacific Breeze series! * Artwork by renowned illustrator Hiroshi Nagai * Compiled by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab) * Newly remastered audio * 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI * Extensive artist bios by Yosuke Kitazawa * Digital mockups are not an exact representation of colors * Available in two vinyl variants: Pink or Black Vinyl

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

Limited to 500 copies, worldwide, exclusively available at HHV. The latest chapter in the acclaimed Pacific Breeze series!

Artwork by renowned illustrator Hiroshi Nagai

Compiled by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab)

Newly remastered audio

2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI

Extensive artist bios by Yosuke Kitazawa

Digital mockups are not an exact representation of colors

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering, with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto, while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

Prince‘ ikonic Album Sign O’ The Times, remastered by Prince‘ Mastering-Engineer Bernie Grundman.

In eleven years of deep digging, Dark Entries has uncovered many curiosities, lone exemplars of the scarsest breeds. They are lurking in Croatia, on the streets of New York, maybe in the back of your own dusty closet - these odd-ball Italo and synth-wave monsters are too rare to live, too divine to die. Once-lost creatures now have a home with Dark Entries’ new Endangered Species series. The inaugural edition features five specimens previously deemed extinct, only mentioned passingly in lore and speculation, but now safely preserved on vinyl. The first cut on Endangered Species Vol. 1 is the previously unreleased electro-New Wave gem “Munich” by John King, an artist best known for his work as one half of the Dust Brothers, lauded producers of the Beastie Boys’ legendary Paul’s Boutique. “Munich”, a Danceteria-ready cut produced in 1983, sheds some light on King’s earlier interests, bridging between freestyle and emotive synthpop. Next up is a rare demo version of The Actor’s “Picture 210”. The Dutch duo here channel both the minimalism of Kraftwerk and the Surrealism of Throbbing Gristle to create one of the finest teary-eyed Goth club anthems. Brazil is a synthpop band from Croatia, and they feature with their 1990 cover of Tears for Fears’ “Mad World”, which is sure to turn some heads on the dancefloor. The eerily faithful production belies Brazil’s re-working of the song’s lyrics. “L'Étranger (Ana Gharib)” by Jamal Khe follows, a pearl originally only available on an impossibly rare French 7” from 1983. Khe is from the Ain Beida region of Algeria, and his Arabic vocal melodies perfectly complement the propulsive percussion and airy arpeggios from producer Jacky Bourgogne. Closing the record is the previously unreleased “Abemus Mind” from Marzio Benellil’s project Nightless. Recorded in 1983, this moody, low-tempo Italo groover features Gregorian chant-inspired vocoders and jazzy piano courtesy of Benelli’s collaborator Marco Falagiani. All songs were mastered for vinyl by George Horn. The sleeve is the first in a series of endangered animal designs by Eloise Leigh, featuring the glam tiger in its natural, 1980’s habitat. Also included is an insert with lyrics, photos, and notes. Please assist us in our efforts to preserve this planet’s weirdest beasts.

Here's the sixth exploration so far of the FullTime Production world with four brand new reworks of tracks extracted from our infinite vaults, finally coming into a brand new sparkling life for DJs and Disco fanatics. After the well-received and successful previous five volumes, there's so much to enjoy throughout this new limited edition 12-inch trip, completely remastered. On the A-side the Disco supernova Da Lukas brings into the world a boosted rework of the B.B. and Band classic "That Special Magic". An incredible groovy vertigo that will take the dancers deeper in. Then the Musta's remix of the 1982 Ago's "It Will Never Be" is pure funky! On the flip side Antonello Ferrari and Aldo Bergamasco alias F&B provide a stomping killer nu-disco rendition of Selection's "Desire", while C. Da Afro closes the package in big fashion kicking the groove and pathos of the Italo-Disco gem "I'm In love" by Patty Johnson.

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.

Emotional Rescue returns to the music of British "pop" band Furniture, with an EP of the band's own extended versions, remixes and unreleased takes of their particular output. Taken from three 12"s that followed When The Boom Was On (ERC072), the songs included cast a light on their development from 3 to 5 piece, adding Sally Still (bass) and Maya Gilder (keyboards) and the new male/female frontline. The subsequent broadening of their line-up and sound meant they could start to address the kind of pop music they wanted to play. After the early releases garneered radio play and reviews, Furniture were launched into the melee of '80s pop. An anomaly, the band found they attracted a specific kind of "intense" follower, who were often beguiled by Furniture's freaky normality. This was addressed on the 1984 release, 'I Can't Crack'. A more urgent version of the sound Furniture had debuted with 'Why Are We In Love', the track, sung by Tim, was based around a sequencer-like rhythm played live by drummer Hamilton Lee, and a clarinet part played by Tim's brother, Larry Whelan. A mix of bleakness and euphoria, the song was and is a favourite of the band and considered one of their best self-productions, as well as becoming a latter day club play. This is followed by the studio experiment 'Throw Away The Script', where the band wrestled with sequencers and synth-pop, but then countered it with a free-jazz sax solo. Found on the flip of the double A -side of 'Love Your Shoes' 12", this instrumental version too became an underground club hit, including a cult play at Fran Lenaer's influential Valencia club, Spook Factory. Played loud, the studio mastery, trickery and oft-accidental discoveries come to the fore, with tissue-damaging frequencies giving extra sound system shaking bottom end. The B-side continues the band's love of making extended mixes with 'Dancing The Hard Bargain'. Co-produced with Tim Parry (formerly of Blue Zoo), they threw everything at these 12" versions. Able to relax and focus on the sounds they really liked, rather than the ones thought more commercial, this can be clearly heard on this compelling, percussive mix, a stop-start breakdown becoming a band hallmark. To close this collection is the mammoth 'Bullet'. Again sung by Whelan, an edited version of which debuted on the 1986 Survival compilation of Furniture tracks called 'The Lovemongers', here this previously unreleased original take is centred on a mesmeric tape loop, live drums and a guest appearance by violinist Helena Bjorelius.

Double vinyl with the best of the famous pop disco group of the 80s. Contains two bonus tracks.

The venerable Dark Entries celebrates it’s 300th release with Panoramic Coloursound, a triple LP from the Creative Technology Consortium. Traxx, Andrew Bisenius, and Jason Letkiewicz forged the CtC during the depths of pandemic isolation. Drawing from film and television music of the 80’s/90’s and armed with a mighty array of vintage analog and digital synthesizers, they set out to explore heists, vices, and catastrophe. Panoramic Coloursound collapses sound and image into a neon blur throughout its 25 tracks. While retro scores were the starting point for the CtC, the project does more than pay dutiful homage — these notes are warped and skewed, devolving into decaying digital soundscapes. EBM-inflected basslines pop up on tracks like “Catastrophe” and “A Retro Vice”, menacing numbers that recall Traxx and Letkiewicz’s legendary work as Mutant Beat Dance (a project also featuring Beau Wanzer). “Follow Our Kode” pairs heroic synths with funky bass, striking cosmic chords akin to the material that Traxx and Bisenius have released as An Anomaly. Krautrock-esque guitars slide along anthemic pads on “Beautifully Polluted Sunset”, which comes across like an alien Miami Vice closing theme. The CtC channel corroded VHS vibes while making music for the future. Panoramic Coloursound was mastered by Frédéric Alstadt. The sleeve was designed by Eloise Leigh, and features a photograph by Jason Letkiewicz. Also included is a postcard featuring liner notes, a gear list, and a photograph by Maria Tzeka.

* The latest chapter in the acclaimed Pacific Breeze series! * Artwork by renowned illustrator Hiroshi Nagai * Compiled by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab) * Newly remastered audio * 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI * Extensive artist bios by Yosuke Kitazawa * Digital mockups are not an exact representation of colors * Available in two vinyl variants: Pink or Black Vinyl

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

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.

1980s New York was where modern dance music took its first steps; a phoenix rising out of the ashes of disco’s over-exposure and demise. The underground scene was the very opposite of the celebrity-sprinkled commercialism of Studio 54 – “Lofts & Garages” looks at how the Spring label, with its brand new 1980s subsidiary Posse, reacted to the new movement.

As an independent New York label, it was perfectly placed to understand new trends in the clubs; it worked with some of those who would go on to define the dance music of the era, and for a glorious summer tracked the important early work of Arthur Baker, Maurice Starr and Michael Jonzun. These began their careers with productions that included Ritz, Glory and Blaze – records that sounded perfect for 12-inch singles and mixed electronic instruments with a real feel for the dancefloor.

Label mainstays Fatback were always searching for a new groove and kept an eye on the floor. Their final single for the label, ‘Spread Love’, was remixed by Morales and Munzibai. Fatback’s Bill Curtis and Gerry Thomas also produced the sought-after boogie single ‘Get Up An’ Dance (Dance With Me)’ for Mynk.

Others featured include one of the most distinctive voices in dance music, Fonda Rae, with her single ‘Live It Up’, released here in its rare radio edit; veteran soul man Lonnie Youngblood with his gospel-influenced ‘Sing A Song’; Detroit dance pioneers C-Brand’s ‘Wired For Sound’ and Body’s ‘Have Your Cake’, which has an early mixing credit for dance music legend Timmy Regisford.

These records may not have all worked on the floor of the Paradise Garage, but they were part of the energy that was given off by that and the rest of New York’s vibrant post-disco era.

Limited DJ Promotional 12" featuring four previously unreleasedTalking Heads demo's from Fear Of Music sessions. Never before available on vinyl.

Following last year’s inaugural box set, Power Corruption & Lies is the next Definitive Edition to chronical the history of one of the UK’s most enduring and influential groups

The box which includes an LP, two CDs, two DVDs and a book, features the album remastered for the first time from the original analogue tape masters on LP, and CD. The Extras CD contains previously unreleased writing sessions from New Order’s Manchester rehearsal rooms and the 1982 John Peel Session for the BBC. The DVDs capture New Order live during 1982 & 83 at The Hacienda and Kilkenny, the 1984 Play at Home Channel 4 TV documentary and other rare live & TV performances. Finally a beautiful 48 page hardback book of rare photos and brand new essay from Dave Simpson completes the Peter Saville designed box.

Power, Corruption & Lies was recorded in 1982 at Britannia Row Studios, Islington and produced by New Order.

Bonus Content:

CD:
Power Corruption And Lies - Extras

Writing Session Recordings
1. Age Of Consent *
2. The Village *
3. 5 8 6 *
4. Your Silent Face *
5. Ecstasy *
6. Leave Me Alone *

John Peel Session
7. Turn The Heater On
8. We All Stand
9. Too Late
10. 5 8 6

John Peel Session Outtake
11. Too Late (instrumental rough mix) *

New York demo #1
12. Thieves Like Us*

Writing Session Recordings
13. Thieves Like Us *
14. Murder *
15. Blue Monday *
16. Blue Monday *

Album Session Recording
17. Blue Monday (Instrumental Outtake)
*Previously unreleased

DVD 1
New Order - Power Corruption And Lies DVD
Live Shows

The Hacienda, Manchester, 1982
In A Lonely Place
Ultraviolence
Denial
The Village
We All Stand
Senses
Chosen Time
5 8 6
Temptation
Everything's Gone Green
Rosehill Hotel, Kilkenny, Ireland 1983
We All Stand
Leave Me Alone
Denial
The Village
Temptation
Confusion
Age Of Consent
Blue Monday
Everything's Gone Green
Ceremony

TV Sessions

Blue Monday (BBC Top Of The Pops, London, 1983)
Confusion (Countdown – 1983
Age Of Consent (Switch – 1983)
Blue Monday (Switch – 1983)
Thieves Like Us (BBC Top Of The Pops, London, 1984 )

Extras
Your Silent Face (The Hacienda, Manchester, 1983)
5 8 6 (The Hacienda, Manchester, 1983)
We All Stand (Recreation Centre, Tolworth, 1983)
Leave Me Alone (Recreation Centre, Tolworth, 1983)
Love Will Tear Us Apart (Tower Ballroom, Birmingham, 1983)
Ultraviolence (First Avenue, Minneapolis, 1983)
The Village (Uni-Mensa, Dusseldorf, 1984)
Thieves Like Us (Alabamahalle, Munich, 1984)
Blue Monday (Alabamahalle, Munich, 1984)
Lonesome Tonight (Metropol, Berlin, 1984)
Confusion (Metropol, Berlin, 1984)

DVD 2

Play At Home
Channel 4, 1984 documentary made by New Order
Live Show
The Hacienda, Manchester, 1983
Blue Monday
Age Of Consent
Lonesome Tonight
Your Silent Face
Leave Me Alone
5 8 6
Denial
Confusion
Temptation
Thieves Like Us
In A Lonely Place
Everything's Gone Green

Prince‘ ikonic Album Sign O’ The Times, remastered by Prince‘ Mastering-Engineer Bernie Grundman.

Record Store Day 2020 Release.

First time on vinyl! “Filled with seriously beautiful singing, Drag sharpens Ms. lang’s image as pop music’s smartest post-modern torch singer.” -New York Times “A collection of covers that are somehow related to smoking, Drag is far more ambitious than the average cover record.” -All Music Limited Edition - Pressed on smoky vinyl

Radio Broadcast is a brand new label specialized in soundboard recordings done for TV and Radio broadcast. All vinyl 140 gr. Limited to 300 copies.

In 1981, Nick Robson wrote Stars. The song can pretty much be described as a slow, cosmic disco song. It has an unusual feel, and it comes as Oslo-based Neppås third release. This 12″ holds the 12″ mix, the 7″ mix, and the original B-side Eye To Eye. The original 12″ is as rare as they come, and here you get the original material, fully licenced, and remastered. The process of recording the material back in 1981 was not an easy one, as Nick Robson recalls: “Fame by David Bowie is one of my favourite songs, period. I was 18 when i wrote Stars and i wanted to write something that was my version of Fame and quite honestly, as a tribute to the song. If you listen to the bass lines, there is a hint of similarity in the two. Even the lyric of Stars has a passing reference to Fame. Stars was one of four songs recorded at Gary’s Rock City studio to supply the first two singles and form the basis of the first album. The other three tracks were Eye To Eye, Boys and She’a Like Ice. Although all four tracks were finished, for one reason or another, Boys never made it to pressing and i walked away from the business to pursue a career in film. Stars itself, was the most ardous and problematic track that i’ve ever recorded. It took around 14 days to finally get an agreed mix when the budget probably only ran to three days. Part of the reason for this is the enormous quantity of music tracks recorded in the song. In those days, we only had 24 recordable tracks available on the Otari, so once you had recorded 23 or less actually, you had to bounce down sub-mixes to a single track to free up another batch of tracks. I think that there are around 46 tracks of instruments alone on Stars so although that kind of track usage is not uncommon now, back then it was rare.

This set features the original album plus Demos and Remixes, incl. Massive Attacks Remix of "Manchild". Three discs in single LP sleeves, housed in a rigid slip-case, includes original album remastered and two bonus discs of b-sides, remixes & extras
Also features the 48-page book

Remastered at Abbey Road, pressed on heavyweight vinyl, with download card included.

30th anniversary of Neneh Cherry’s classic hit album Raw Like Sushi (1989),“an unorthodox and brilliantly daring blend of R&B, rap, pop, and dance music”, sees the original album remastered and given the super deluxe treatment as a 3LP box set.

This box sets feature a 48-page 12x12 book packed full of iconic photos, new interviews, liner notes and memorabilia. The album features 5 singles - includes the worldwide smash hit single ‘Buffalo Stance’ (number 1 US Dance Chart) as well as hit singles – ‘Manchild’ produced by Massive Attack’s Robert Del Naja, ‘Kisses On The Wind’, ‘Heart’ & ‘Inna City Mamma’. Also features rare mixes of key tracks by Massive Attack, Arthur Baker, Smith N Mighty, and more.One of the most important records of all-time. Listed as one of the "1001 Albums You Must Hear Before You Die".

Celebrating a Decade of Dark Entries with a compilation titled Tens Across The Board. We revisit our roster and chose 10 songs from 10 bands from 10 different countries spanning the years 1981-1993. The songs flow in chronological order and have never appeared on vinyl, with 7 of the songs previously unreleased. Features tracks from PARADE GROUND, DISENO CORBUSIER, LENA PLATONOS, VICTROLA, BORGHESIA, TOM ELLARD, X-RAY POP, SECOND DECAY, FROM NURSERY TO MISERY, and CYRNAI. All songs have been remastered by GEORGE HORN at Fantasy Studios. The vinyl is housed in a custom designed jacket by ELOISE LEIGH featuring our label’s colors black-white-red with connect-the-dots pattern linking the 10 songs via maps/timeline/location, all relating to the reissue process, plus source images from San Francisco, our hometown. For this landmark release we've also printed a 2-sided fold-out wall poster that includes every artist we've released in our first 10 years 2009-2019 in black, red and silver metallic ink, plus an 8x11 insert with lyrics, notes and photos.

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).

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.

Limited to 500 copies.

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.

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.

Re-release the first ever recordings by Belgian minimal synth masters Twilight Ritual. Released in 1982 in a tiny cassette edition this album has not been heard by many people. “The Ritual" includes some of their best work, from mysterious dark synthpopsongs (Elegy) to club music (Webb-men) and the epic 14-minute track (Up To Now).

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.

Limited to 999 hand-silkscreened numbered copies!

NOW Music is proud to present the second in our ongoing series of vinyl compilations, NOW That’s What I Call 80s Dancefloor. Each edition features an essential collection of tracks representing key genres from the incredible diversity that were all part of 1980’s Dance music. This volume, featuring 29 tracks across 2-LPs, pressed on 1 Purple and 1 Pink vinyl, presents the best in Disco and Electro.

To celebrate Christmas Eve’s 40th years anniversary, originally released in 1984, it will be released on 12-inch analog record. On side B, the different version of White Christmas will be recorded.

It’s time to deck the halls and put up the Christmas tree as the yuletide season is upon us. Christmas Collected is the brand-new compilation with both traditional and modern songs celebrating the festive season. Artist and groups including Queen, Bruce Springsteen, Band Aid, Paul McCartney, U2, The Teskey Brothers, Frankie Goes To Hollywood, Amy Winehouse, Ariana Grande, Mud and many more are featured on the 2LP. Christmas Collected is available as a limited edition on translucent green (LP1) and translucent red (LP2) coloured vinyl and includes an insert.