1980s 184 Items

Limited edition repress on bone vinyl of cult-favorite Captured Tracks release, including bonus flexidisc featuring a rare cover of Free's "All Right Now". Saada Bonaire. The fantastic German disco/world music project from Bremen which never was meant to be. Formed by Bremen DJ Ralf Behrendt in 1982, Saada Bonaire was a unique concept band centered around two sultry female vocalists (Stefanie Lange and Claudia Hossfeld) and dozens of local musicians culled from the local immigration center. Originally signed to EMI in 1982, their first and only single, "You Could Be More As You Are" was produced by legendary Matumbi, Slits and POP Group producer Dennis Bovell in Kraftwerk's studio in Cologne. Its fusion of husky female vocals, Eastern instruments, dub and African music aesthetics, drum computers and synthesizers remains unique to this day. EMI cancelled the project upon its release. Saada Bonaire compiles two songs from the original EMI single plus eleven previously unreleased songs recorded between 1982 and 1985. Also included are never before published photos and in depth interviews with band members and a full gate fold cover for those dedicated vinyl buyers. Saada Bonaire. A bizarre mix of Kraftwerk, Grace Jones, and Marlene Dietrich. These lost recordings from the early eighties still sound fresh on today's dance floor.

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.

Synth pop trio Bronski Beat's 1984 debut The Age of Consent is a rarity in musical history - an album that both defined a generation and challenged the status quo. Its four singles, and particular lead single 'Smalltown Boy', have endured with astonishing resonance, offering home to all listeners dreaming of escape from their familiar surroundings and situations.

Every track on the album places the listener 'in the room': they are in it, living it, rolling inside each song's thematic meaning. Through the blue-eyed wonder of singer Jimmy Somerville's vocal pirouettes, they too take the punch of hate in 'Why?', question the bible with alongside a male voice choir on 'It Ain't Necessarily So', and watch the same crappy TV advertising on 'Junk'. They are part of the trade-off between lust and commerce in 'Love and Money' and the heated near climax of 'Need A Man Blues.'

40 years later and The Age of Consent remains as prescient and vital as ever as it did on its original release; truly transgressive - defiant, queer, and laden with hooks. To celebrate this important anniversary, London Records revisit the album across a series of expanded formats, uncovering sonic archival gems, new mixes, essays and more.

TRACKLISTING:

DOUBLE VINYL
VINYL 1 : THE AGE OF CONSENT (2018 REMASTER)
SIDE ONE
1. WHY?
2. IT AIN'T NECESSARILY SO
3. SCREAMING
4. NO MORE WAR
5. LOVE AND MONEY
SIDE TWO
1. SMALLTOWN BOY
2. HEATWAVE
3. JUNK
4. NEED A MAN BLUES
5. I FEEL LOVE / JOHNNY REMEMBER ME

VINYL 2 : HUNDREDS & THOUSANDS (2024 REMASTER)
SIDE THREE
1. HEATWAVE (HARVEY GOLDBERG REMIX)
2. WHY (HARVEY GOLDBERG REMIX)
3. RUN FROM LOVE (DOMINIC MAITA REMIX)
SIDE FOUR
1. HARD RAIN (HARVEY GOLDBERG REMIX)
2. SMALLTOWN BOY (HARVEY GOLDBERG REMIX)
3. JUNK (HARVEY GOLDBERG REMIX)

Named after one of the basic rhythms of Cuban folk music and drawing on influences from across the globe, Cho Co Pa Co Cho Co Quin Quin are quite simply a world unto itself. Comprised of three childhood friends, Daido, Yuta and So, who reconnected during the coronavirus pandemic, Cho Co Pa initially emerged as a playful way for the three 23-year-olds to pass the time. Tapping into their youthful connection, they created a sound that exudes confidence and curiosity, a homage to the masterful world of YMO’s and Happy End’s Haruomi Hosono, rooted in the trio’s own idiosyncratic experience of the present. Recorded at home and promoted on hugely popular DIY TikTok videos, their debut album Tradition is a technicolour exercise in armchair travelling – a kind of lockdown exotica for the housebound whose nostalgic flights of fancy are laced with a sense of whimsical melancholy for the lost freedoms of youth. Referencing everything from Afro-Cuban percussion to lo-fi beats, Buddhist spirituality to trap, each member of the band brings different musical inspirations to the table. Latin American and Middle Eastern styles sit adjacent to a fascination for the electronic music of Aphex Twin, Dorian Concept, Underworld and Daft Punk. At times, the music verges on acid pop bliss, at others, it grooves with the instrumental funk sensibility of Badbadnotgood. “In the first place, when I create a song, my goal is to transport the listener to a mysterious place,” vocalist Daido explained in a recent magazine interview. Using lyrics as another sonic texture in the composition of ideas, Cho Co Pa paint beguiling sonic postcards of far-flung moods across 12 highly original tracks. Marrying the organic and the electronic on rhythmically sophisticated compositions like ‘Chichibu’ and ‘Watatsumi’, it is on the album’s standout track ‘Gandhara’ that the experimental sound of Cho Co Pa comes to the fore. Referencing the ancient city of Gandhara through which Buddhism made its way from India to China, the track is a vocoder-trap-inspired, Udu drum-driven pop jam that lilts with unmistakable Balearic flair. If that’s difficult to imagine, then know simply that ‘Gandhara’ sounds like nothing else on this side of Saturn. Even Daido seemed surprised by the outcome: “I feel like we were able to create something that exceeded our abilities. That was huge!” Hugely popular in Japan, with festival appearances lined up alongside Badbadnotgood at Asagiri Jam in October, it's safe to say the success of Tradition has taken Cho Co Pa by surprise. Released digitally in July 2023, Tradition will get a full international vinyl release in January 2024. You won’t have heard anything like it.

Dark Entries returns to Mexico with Back Up Dos: Mexican Tecno Pop 1982-1989. Following 2021’s Back Up compilation, Back Up Dos delivers 10 more tracks of synth-pop and New Beat, 7 of which have never before appeared on vinyl. From mutant drum machine beats to irresistible synthesizer hooks, fans of the fringes of the 80s will find songs to stir their cold, dark hearts. But Back Up Dos does more than mine retro kitsch; it documents the development of a rich DIY music scene that is still underexplored. As affordable samplers and digital synths spread throughout the decade, post-punk and new wave gave way to more aggressive EBM and cyberpunk sounds. The scene also developed in opposition to the political climate of the times: the rise of the drug cartels and a reactionary turn in national politics. Using home recording techniques, these bands took cues from the electronic wizardry of the Human League and Wax Trax Records while reflecting the vibrant and chaotic Mexican cultural landscape of the era. On Back Up Dos, impeccable pop anthems from Casino Shanghai and Los Agentes Secretos sit alongside gnarled obscurities from Ford Proco and María Bonita, showcasing a decade of sly deviance and enthusiastic experimentation. This album comes housed in an 80s-inflected neon sleeve designed by Gwenael Rattke and includes a 12-page booklet with photographs, lyrics, and notes. Back Up Dos compiles synthetic music produced in Mexico at the crossroads from Tecno Pop to Post-Industrial, nourished by culture shock and stories of dystopian worlds.

CHBB was a project by Beate Bartel and Chris Haas that developed from their collaboration in 1981, while working on the self-titled album 'Liaisons Dangereuses‘. They released their music only on four limited cassettes.

This compilation presents the complete works of Chbb, including all recordings from their original cassettes alongside previously unreleased tracks produced by both artists.

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.

Cult early performance in Amsterdam

“Everything here is a gem. Neneh triumphs with a seamless and unorthodox blend of hip-hop, R&B, dance music, and pop” 4 ½/5 Allmusic

Colored Vinyl reissue of Neneh’s second album – first UK reissue on vinyl since its release in 1992. On release the album gained favourable reviews (4/5 in both Q and Rolling Stone) with Allmusic labelling the album “magnificent and risk-taking”.

The singles “Money Love” and “Buddy X” charted internationally with album track “Trout” featuring Michael Stipe and receiving heavy airplay on US alternative radio. Portishead’s Geoff Barrow co-wrote and co-produced “Somedays” and “Move with Me” appeared on the soundtrack of the 1993 Sharon Stone film Sliver.

The Swedish-born, UK-based artist started her musical career in The Slits going on to gain global recognition as a solo artist with her 1988 single ‘Buffalo Stance’ from the album “Raw Like Sushi’. Always irreverent, unpredictable and stylish, she has now released five studio albums and collaborated with Peter Gabriel, Massive Attack, Michael Stipe, Lenny Kravitz, Geoff Barrow and Four Tet, won two Brit Awards and been nominated for a Grammy.

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.

Analogue Productions (Atlantic 75 Series)

Celebrating the 75th Anniversary of Atlantic Records!

Yes' breakthrough album!

Includes hit singles "Roundabout" and "Long Distance Runaround"

Hybrid Stereo SACD

Mastered by Chris Bellman at Bernie Grundman Mastering direct to DSD from the original master tape

Fragile was Yes' breakthrough album, propelling them in a matter of weeks from a cult act to an international phenomenon. Not coincidentally, it also marked the point where all of the elements of the music (and more) that would define the group's success for more than a decade fell into place fully formed, writes AllMusic, giving Fragile a 5-Star rating.

Propelled by the timeless hit "Roundabout," Yes' fourth album, Fragile, became an instant classic and is undoubtedly one of prog-rock's finest moments. It was the first Yes record to feature Rick Wakeman on keyboards and the first to display the inimitable artwork of Roger Dean. Here's the ultimate way to enjoy one of Yes's most popular and enjoyable albums.

Dream on, on to the Heart of the Sunrise!

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.

Dark Entries is pleased to announce a deluxe reissue of Sexual Harrassment’s 1983 opus I Need A Freak. Lynn Tolliver, DJ/Program Director at Cleveland’s Wzak, adopted the pseudonym David Payton in order to keep his musical endeavors separate from his public persona. Sexual Harrassment (misspelled deliberately) was formed as a concept band, with members selected based on appearance and choreographic skill rather than musical ability. Tolliver’s explicit lyrics focused on the central themes of desire and sexual relations. Working at a studio in Akron, he recorded an album of quirky-yet-lurid electro funk, which was released on Heat Records. Tolliver remarks, “I learned as a youngster, sex sells! The things that are rated the worst – violence, horror and sex – are the things people want to see or hear about.” I Need a Freak was a surprise hit, selling over 100,000 copies. I Need A Freak is presented here for the first time on double LP, pressed at 45 rpm for maximum DJ-friendliness. While the album’s naughtier moments seem quaint by contemporary standards, the fusion of lo-fi funk and disaffected vocals still stuns today. On the eternal electro-raunch anthem “I Need a Freak”, minimalism serves to highlight the lasciviousness of the deadpan lyrics, which were inspired by Lourdes Figueroa, Tolliver’s girlfriend at the time. Tolliver’s whimsy shines on tracks like “If I Gave You a Party” and “K.I.S.S.I.N.G.”, which contrast nursery rhyme structures with decidedly R-rated lyrics. “Exercise Your Ass Off” lampoons the home exercise craze, but with a more-than-suggestive sexual bent. Also included are two bonus cuts, “We Want Prince” and “These Are The Things That I Like”, previously released as singles in 1984 and 1986, respectively. “We Want Prince” is both a homage to the Purple one and a gentle satire of obsessive fandom. I Need A Freak has been remastered by George Horn at Fantasy Studios. The album comes in a gatefold sleeve featuring the original artwork. Included are lyrics, photos, and liner notes by Lynn Tolliver and drummer Dale Jackson. Tolliver’s sly provacateurship is best captured by the quote: “It’s funny – without sex, mankind is dead, yet we hide the very thing we need.”

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.

Depeche Mode live on their ‘Construction Time Tour’. This is the recording of the first of three shows at the Hammersmith Odeon in London starting on the October 6,1983. The first tour with the then new keyboarder Alan Wilder.

Minimal Wave is thrilled to present a long-awaited LP showcasing previously unreleased gems from the influential UK duo, Vicious Pink. Originating from a serendipitous encounter in a smoky Leeds nightclub back in 1979, Josephine Warden and Brian Moss embarked on a musical journey that would redefine the synth-pop landscape. Initially known as Vicious Pink Phenomena, they made their mark by providing distinctively off-kilter backing vocals for their friends in Soft Cell a collaboration that unfolded organically and without rehearsal. Transitioning to the simplified moniker Vicious Pink, the duo continued to captivate audiences with their avant-garde sound, releasing a string of singles that defied conventional expectations and climbed the UK dance charts between 1982 and 1986. Despite their modest intentions, their music proved to be both artful and provocative, leaving an enduring legacy in the annals of electronic music history. 'Unexpected' offers listeners a glimpse into the duo's creative process, compiling pop experiments recorded spontaneously, some in collaboration with Dave Ball. Each LP is housed in a deluxe glossy heavyweight sleeve, featuring captivating artwork that reflects the essence of Vicious Pink's sonic universe. Limited to 999 copies, pressed on high-quality 160 gram Coke bottle clear vinyl, this release promises to be a collector's dream. Included with every LP, is a 5” x 7” postcard adorned with an exclusive, unpublished photograph of Brian, Jose, and Dave, providing fans with a personal memento of this remarkable musical journey. Release date: May 21st, 2024. Get ready to discover the magic of Vicious Pink in 'Unexpected.’

Limited to 500 copies.

‘Make It Big’ is exactly what Wham! had done by the time they released their second album in 1984. Featuring the hit singles ‘Wake Me Up Before You Go-Go’, ‘Everything She Wants’ ‘Freedom and ‘Careless Whisper’, the album cemented their place as pop icons. Now on vinyl for the first time in over 30 years, ‘Make It Big’ is available in limited edition white vinyl and black vinyl.

Wham! exploded onto the global stage with their first album ‘Fantastic’ in 1983 and music was never the same again. Featuring the huge hits ‘Bad Boys’ ‘Wham! Rap (Enjoy What You Do)’ and ‘Club Tropicana’, the album debuted at #1 in the UK and sold millions of copies worldwide. Now on vinyl for the first time in over 30 years, ‘Fantastic’ is available in limited edition transparent red vinyl and black vinyl.

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

"Yoichi Takizawa's second album ""boy"" which follows his first album ""Leonids no Kanatani"", is miraculously released after more than 40 years!

This work was scheduled to be released on July 25, 1982, following his first single ""Sunday Park"". For unknown reasons, this is a phantom second album that was canceled just before its release.

*Also includes the original version of ""Kagirinaki Natsu"" from Hideki Saijo's 17th album ""gentle・a Man"" released on March 5, 1984.

The mixdown was once complete, but the original master of the 2-mix is currently missing, so the mixdown was done again for this album (except for Side B, 1st and 2nd tracks released as singles). The mix work this time was done based on the remaining karaoke masters of all the songs, and the album was revived as a supreme album that expresses a modern sound while staying as close to the original mix as possible.

The first album "" Leonids no Kanatani"" released by Alfa and traded at high prices long before the City Pop boom, has been reissued on vinyl. This second album is also finally being released in its entirety on vinyl for the first time in the world!"

Synth pop trio Bronski Beat's 1984 debut The Age of Consent is a rarity in musical history - an album that both defined a generation and challenged the status quo. Its four singles, and particular lead single 'Smalltown Boy', have endured with astonishing resonance, offering home to all listeners dreaming of escape from their familiar surroundings and situations.

Every track on the album places the listener 'in the room': they are in it, living it, rolling inside each song's thematic meaning. Through the blue-eyed wonder of singer Jimmy Somerville's vocal pirouettes, they too take the punch of hate in 'Why?', question the bible with alongside a male voice choir on 'It Ain't Necessarily So', and watch the same crappy TV advertising on 'Junk'. They are part of the trade-off between lust and commerce in 'Love and Money' and the heated near climax of 'Need A Man Blues.'

40 years later and The Age of Consent remains as prescient and vital as ever as it did on its original release; truly transgressive - defiant, queer, and laden with hooks. To celebrate this important anniversary, London Records revisit the album across a series of expanded formats, uncovering sonic archival gems, new mixes, essays and more.

TRACKLISTING:

LIMITED 4CD+1DVD BOXSET

DISC ONE : THE AGE OF CONSENT - THE ALBUM PLUS
1. WHY?
2. IT AIN'T NECESSARILY SO
3. SCREAMING
4. NO MORE WAR
5. LOVE AND & MONEY
6. SMALLTOWN BOY
7. HEATWAVE
8. JUNK
9. NEED A MAN BLUES
10. I FEEL LOVE / JOHNNY REMEMBER ME
11. SMALLTOWN BOY (DJ 7" EDIT) - Bonus track
12. WHY? (REMIX) - Bonus track
13. IT AIN'T NECESSARILY SO (7" VERSION) - Bonus track
14. I FEEL LOVE (7" VERSION) WITH MARC ALMOND - Bonus track
15. RUN FROM LOVE (RADIO VERSION) - Bonus track
16. HARD RAIN (NME 7" VERSION) - Bonus track

DISC TWO : HUNDREDS & THOUSANDS - THE REMIX PLUS
1. HEATWAVE (HARVEY GOLDBERG REMIX)
2. WHY (HARVEY GOLDBERG REMIX)
3. RUN FROM LOVE (DOMINIC MAITA REMIX)
4. HARD RAIN (HARVEY GOLDBERG REMIX)
5. SMALLTOWN BOY (HARVEY GOLDBERG REMIX)
6. JUNK (HARVEY GOLDBERG REMIX)
7. LOVE AND MONEY (HUNDREDS & THOUSANDS REMIX) * - Bonus track
8. INFATUATION / MEMORIES - Bonus track
9. CLOSE TO THE EDGE - Bonus track
10. I FEEL LOVE (CAKE MIX) WITH MARC ALMOND - Bonus track
11. CADILLAC CAR (EXTENDED) - Bonus track

DISC THREE : CONSENT EXTENDED - THE 12 INCHES PLUS
1. SMALLTOWN BOY (12" VERSION)
2. WHY? (12" VERSION)
3. IT AIN'T NECESSARILY SO (12" VERSION)
4. I FEEL LOVE (12" VERSION) WITH MARC ALMOND
5. RUN FROM LOVE (US CLUB REMIX '85) *
6. SMALLTOWN BOY (US CLUB REMIX '84) *
7. RED DANCE
8. THE POTATO FIELDS
9. PUIT D'AMOUR
10. SIGNS (AND WONDERS)
11. I FEEL LOVE (FRUIT MIX)

DISC FOUR : IGNORE AT YOUR PERIL - THE RARITIES PLUS
1. SMALLTOWN BOY (CAPITAL RADIO SESSION, MAY '84) *
2. HEATWAVE (CAPITAL RADIO SESSION, MAY '84) *
3. HARD RAIN (CAPITAL RADIO SESSION, MAY '84 )*
4. WHY? (EARLY VERSION, MARCH '84) *
5. CRAZY MARAQUITTA (STUDIO SESSION) *
6. IT AIN'T NECESSARILY SO (EARLY VERSION) *
7. UPSIDE DOWN (STUDIO SESSION) *
8. SCREAMING (EARLY VERSION, MARCH '84) *
9. THE POWER OF THE GOLD (STUDIO SESSION) *
10. LOVE AND MONEY (EARLY VERSION) *
11. FIRST CHURCH (FEEL LOVE) (STUDIO SESSION) *
12. JUNK (EARLY VERSION 2) *
13. WALKING (STUDIO SESSION) *
14. NO MORE WAR (EARLY VERSION) *
15. GO (YOU & ME) (STUDIO SESSION) *
16. CLOSE TO THE EDGE (EARLY ALTERNATE EXTENDED MIX) *
17. HEATWAVE (EARLY VERSION) *
18. THE OTHER SIDE OF THE TRACKS (STUDIO SESSION) *
19. SMALLTOWN BOY (EARLY VERSION, MARCH '84) *

DISC FIVE / DVD : THE FIRST CHAPTER - THE VIDEOS PLUS
OFFICIAL MUSIC VIDEOS
1. SMALLTOWN BOY (RESTORED PROMO)
2. WHY? (RESTORED PROMO)
3. IT AIN'T NECESSARILY SO (RESTORED PROMO)
4. I FEEL LOVE (RESTORED PROMO) WITH MARC ALMOND
TOP OF THE POPS PERFORMANCES
5. SMALLTOWN BOY (BBC 'TOP OF THE POPS', JUNE '84)
6. WHY? (BBC 'TOP OF THE POPS', SEPTEMBER '84)
7. IT AIN'T NECESSARILY SO (BBC 'TOP OF THE POPS', DECEMBER '84)
8. I FEEL LOVE (BBC 'TOP OF THE POPS', APRIL '85) WITH MARC ALMOND
ORIGINAL TV ADVERTS
9. THE AGE OF CONSENT - TV ADVERT #1 (DECEMBER '84) *
10. THE AGE OF CONSENT - TV ADVERT #2 (JANUARY '85) *
* PREVIOUSLY UNRELEASED

Synth pop trio Bronski Beat's 1984 debut The Age of Consent is a rarity in musical history - an album that both defined a generation and challenged the status quo. Its four singles, and particular lead single 'Smalltown Boy', have endured with astonishing resonance, offering home to all listeners dreaming of escape from their familiar surroundings and situations.

Every track on the album places the listener 'in the room': they are in it, living it, rolling inside each song's thematic meaning. Through the blue-eyed wonder of singer Jimmy Somerville's vocal pirouettes, they too take the punch of hate in 'Why?', question the bible with alongside a male voice choir on 'It Ain't Necessarily So', and watch the same crappy TV advertising on 'Junk'. They are part of the trade-off between lust and commerce in 'Love and Money' and the heated near climax of 'Need A Man Blues.'

40 years later and The Age of Consent remains as prescient and vital as ever as it did on its original release; truly transgressive - defiant, queer, and laden with hooks. To celebrate this important anniversary, London Records revisit the album across a series of expanded formats, uncovering sonic archival gems, new mixes, essays and more.

TRACKLISTING:

DOUBLE CD
CD1
1. WHY?
2. IT AIN'T NECESSARILY SO
3. SCREAMING
4. NO MORE WAR
5. LOVE AND MONEY
6. SMALLTOWN BOY
7. HEATWAVE
8. JUNK
9. NEED A MAN BLUES
10. I FEEL LOVE / JOHNNY REMEMBER ME
11. SMALLTOWN BOY (ABSOLUTE. EXTENDED REWORK)
12. SMALLTOWN BOY (PLANNINGTOROCK'S 'THE LOVE THAT YOU NEED' REWORK)
13. SMALLTOWN BOY (DAVE AUDÉ VS TALL PAUL REMIX) *
14. WHY? (SUPERCHUMBO MIX FT. NEIL TENNANT) *
15. SMALLTOWN BOY (THE KNOCKS & BRONSKI BEAT FT PERFUME GENIUS) *

CD2
1. HEATWAVE (HARVEY GOLDBERG REMIX)
2. WHY (HARVEY GOLDBERG REMIX)
3. RUN FROM LOVE (DOMINIC MAITA REMIX)
4. HARD RAIN (HARVEY GOLDBERG REMIX)
5. SMALLTOWN BOY (HARVEY GOLDBERG REMIX)
6. JUNK (HARVEY GOLDBERG REMIX)
7. LOVE AND MONEY (HUNDREDS & THOUSANDS REMIX) *
8. INFATUATION / MEMORIES
9. CLOSE TO THE EDGE
10. I FEEL LOVE (CAKE MIX) WITH MARC ALMOND
11. CADILLAC CAR (EXTENDED)

Funky Kromong Vol. 2 continues the legacy of Vol.1 by featuring unbeatable songs. At this time’s release, Lamunai Records re-selected some of the songs by legendary musician Benyamin Suaeb who showed his excellence in combining traditional Betawi elements with innovative funk and groovy rhythms. Each track in this compilation brings listeners a unique musical journey, blending Benjamin’s distinctive humor with a nuance of sound.



Vol. 2 not only maintains the eccentric spirit and intelligent satire of its predecessor but also explores Benjamin’s rich culture and musicality more deeply. Songs like “Kompor Meleduk”, “Cong-Cong Balicong” and “Koboi Ngungsi” offer a fresh listening experience but remain familiar to old and new listeners. The combination of traditional musical instruments with modern instruments creates charming harmony, inviting us to re-experience the golden age of Indonesian music with a contemporary touch.

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.

This playfully titled release features David Javelosa (on synth and vocals) along with Meg Brazill (on bass and vocals) plus drummer Todd “Rosa” Rosencrans. Side One features five studio tracks, none of which were included on the band’s 1981 Posh Boy LP, Life After Breakfast. Three of these tracks were recorded in ‘82; there’s no information regarding the provenance of the other two songs. The records’ second side collects five live recordings, capturing Los Microwaves onstage in New York City (The Peppermint Lounge) and Boston as well as at San Francisco’s own I-Beam, a venue that often played host to the band. Those tracks date form roughly the same ear, 1980-83. Sonically the songs variously recall Blondie, Flying Lizards, Gang of Four and a far less dour Human League. Importantly, the band rocks, even when it’s employing a spare drum kit, solid but elemental bass, and monophonic analog synthesizers. The stripped down aesthetics of the group – necessitated by its minimalist instrumental approach – are nonetheless thrilling. Even if you weren’t there in 1980, this’ll take you back.

2 x Black 140 G Vinyl. Gatefold Sleeve with spot matt & gloss UV. 2 x Printed inner sleeve. The album remastered from original tapes . Vinyl package also features a selection of B - Sides from the 7” singles of 1985 & 1986.

Greek electronic music legend Lena Platonos returns to Dark Entries with Balancers, an LP of previously unreleased material recorded between 1982-1985. Athens-based Platonos has worked with the label previously to reissue her three solo LPs - Gallop, Sun Masks, and Lepidoptera - as well as to release three accompanying 12” EPs featuring modern remixes of her work. She is renowned for her forays into cutting-edge electronic experimentation as well as her striking, impressionistic poetry and lyrics, always recited in Greek. The twelve tracks on Balancers reveal a murkier side of Lena, one draped in tenebrous washes and oneiric utterances. Ragged analog rhythms feature on several tracks, even breaking into a brooding electro groove on “A Cat in the Corner”, but the predominant tone is sparse and somber. Mournful instrumental “Phaethon” swells to mythological proportions, while “In September” feels small enough to fit in your pocket. Lena’s poetry sits amidst lush pads and Radiophonic Workshop-esque squiggles, her voice setting an intimate tone in the shifting electronic sea. Inspiration is drawn from Greek mythology and architecture, and lyrics evoke a soft sorrow, an ambivalence towards love, life, and the passage of time. Although the material here spans 3 years and features a range of recording fidelities and synthesis techniques, the collection possesses the heft of a singular artist’s vision. Balancers was remastered by George Horn at Fantasy Studios. Eloise Leigh designed the sleeve, which features a doubled Lena in washed-out burgundy hues, channeling the femininity and mystery of the album. Also included is an insert with lyrics in both Greek and English.

On Back Up: Mexican Tecno Pop, Dark Entries brings us 10 divergent tracks of Mexican electronics from 1980-1989, full of skittering analog drum boxes and saucy synthesizer hooks. 8 of these songs were culled from the 2005 CD-only compilation Backup: Expediente Tecno Pop on At-at records. Also included are two previously unreleased cuts. This release marks the first time many of these songs will have appeared on vinyl; it is also the first ever vinyl compilation of Mexican New Wave and post-punk. While synth pop and obscure electronics from Europe and the United States have been extensively documented, much less attention has been paid to such offerings from the periphery. Back Up serves as a vital document of Mexico’s flourishing DIY scene in the 1980’s, surveying a wide range of styles and moods. By using home recording techniques, the bands featured here were able to circumvent relying on the expensive studios of the era. Tracks by Avant Garde, Vandana, and Silueta Pálida mine the kind of dreary-but-infectious wave that long-time Dark Entries fans will celebrate. Meanwhile, Volti and Artefacto offer a floor-ready pop sound that has echoes of NY freestyle, with Latin percussion and boxy beats. But darker turns are present as well, with Década 2’s New Beat-inflections and electro experiments of Syntoma and their side project Escuadrón Del Ritmo. Back Up: Mexican Tecno Pop was remastered by George Horn at Fantasy Studios. The sleeve is a neon retro-futurist design by Gwenaël Rattke. Also included is a 12-page booklet printed on neon green, pink, and orange paper, which features photographs, band biographies, lyrics, and liner notes.