1980s 82 Items

Record is close to NM. Sticker on cover.

Record is close to VG+.
Small sticker on cover.

Japanese pressing with OBI and inserts. close to NM

Japanese pressing without the OBI! tiny wear

Original inner sleeve

slight seam wear, Original inner sleeve

Sticker on cover.

Japanese pressing. Promo copy. With OBI and insert. Cover and vinyl are very close to NM. With poster.

Original inner sleeve. 1989 reissue.

Original US Los Angeles Pressing.

Close to VG+. Price tag.

EU reissue. Original inner sleeve. Vinyl is very close to NM. Tiny wear.

Vinyl is close to NM. Japanese pressing. OBI is missing.

Orange Transparent VInyl.
Record is close to VG+.

Record is close to VG+.

Dark Entries celebrates its 15th anniversary by returning to where it all started, our initial darkest entry: Eleven Pond’s masterpiece Bas Relief, an ultra-obscure album from 1986 that would become a definitive dark pop holy grail. Eleven Pond was James Tabbi (vocals, acoustic guitar), Jeff Gallea (drum machine, synthesizer, vocals), Jack Schaeffer (guitar) and Dan Brumley (synthesizer, samples, vocoder, melodica). They met in Rochester, NY, while attending art school, brought together by their shared love of 4AD and Factory Records. Taking cues from acts like Joy Division, Fad Gadget, and For Against, Eleven Pond’s infectious basslines, churning guitar riffs, and atmospheric synths will charm all fans of moody music. But what really makes Bas Relief shine is the timeless songwriting on classics like “Tear and Cinnamon”, “Portugal”, and the anthemic “Watching Trees.” With only 500 copies in it’s initial release, Bas Relief resurfaces with a fresh remaster that corrects a pitch shift from previous reissues. Each copy is housed in a screen printed jacket, like the 1986 edition, and includes a lyric sheet, two postcards and a bookmark. Bas Relief is a true lost relic of the cold 80’s and an essential piece Dark Entries history.

Original inner sleeve.

The final part of this ‘A.R. Kane reissue collection is 1989’s astonishing double-LP ‘i’ which

followed up on ‘sixty nine’s promise and saw the duo fully unleash their experimental

pop sensibilities over 26 tracks, plunging the A.R. Kane sound into a dazzlingly

kaleidoscopic vision of pop experiment and play. Suffused with new digital

technologies and combining searingly sweet and danceable pop with perhaps the

duo’s strangest and boundary-pushing compositions, the album did exactly what a

great double-set should do - indulge the artists sprawling pursuit of their own

imaginations but always with a concision and an ear for those moments where pop

both transcends and toys with the listeners expectations. Jason Ankeny has noted

that “In retrospect, ‘i’ now seems like a crystal ball prophesying virtually every major

musical development of the 1990s; from the shimmering techno of ‘A Love from

Outer Space’ to the liquid dub of ‘What’s All This Then?’, from the alien drone-pop of

‘Conundrum’ to the sinister shoegazer miasma of ‘Supervixens’ — it’s all here, an

underground road map for countless bands to follow.” Perhaps the most

overwhelmingly all-encompassing transmission from A.R. Kane, ‘i’ bookended a

three year period in which the duo had made some of the most prophetic and

revelatory music of the entire decade.

After ‘i’ the duo’s output became more sporadic with Tambala and Ayuli moving in

different directions both geographically and musically, with only 1994’s ‘New Clear

Child’ a crystalline re-fraction of future and past echoes of jazz, folk and soul, before

the duo went their separate ways. Since then, A.R. Kane’s music has endured, not

thanks to the usual sepia’d false memories that seem to maintain interest in so much

of the musical past, but because those who hear A.R. Kane music and are changed

irrevocably, have to share that universe which A.R. Kane opened up, with anyone

else who will listen. Far more than other lauded documents of the late 80s it still

sounds astonishingly fresh, astonishingly livid and vivid and necessary and NOW.

Japanese pressing with OBI. 7" is missing. close to NM

Japanese pressing without OBI, with insert.

Japanese pressing. OBI is missing. close to NM

Japanese pressing.

Original japanese pressing without obi. close to NM

Original japanese pressing without obi. close to NM

Japanese pressing without OBI. close to NM.

close to NM

Vinyl is Close to VG+. 1983 reissue.

Japanese pressing. Few paper scuffs. Without OBI and insert.

Japanese pressing. With OBI. tiny wear and few paper scuffs.

Japanese pressing. OBI is missing. few paper scuffs

Japanese pressing. With OBI. few paper scuffs. cover is close to NM

Purple vinyl and cover are close to NM. Original inner sleeve. 2020 reissue.

close to NM. Original inner sleeve

close to NM

close to NM

" Pressed on 7"" black vinyl
Two incredible hits from 1980s Japan!
NOTE: artwork to be announced Two major duets by Yoshinori Monta and Junko Ohashi are released simultaneously on analog 7inch single vinyl! In April 1983, ""Natsu Onna Sonia"" became a big hit under the name ""Yoshinori Monta with Junko Ohashi,"" and the following June 1984, ""Koi wa Magic"" was released simultaneously, this time under the name ""Junko Ohashi with Yoshinori Monta! The couplings include Yoshinori Monta's solo song ""Harbor Light"" and Junko Ohashi's solo song ""A LOVE AFFAIR,"" respectively."

Original inner sleeve. close to NM

Japanese pressing with obi. 1981 reissue.

With obi. Foxing on back cover.