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This 1983 album appears on vinyl for the first time.

A record that should never leave any HiNRG sympathetic record bag. You get two monstrous club tracks from the second half of the 80s for the price of one. These two singles put the power couple (Pascal and Denise Languirand) on the HiNRG map worldwide. “Imagination” is an electro influenced anthem that will shift gears for any dancefloor. The percussive work on the break is a ground quaking homage to freestyle/latin influences from the scene in LA at the time, (reminiscent of the unconstrained drum machine programing on “Just My Love” by Umo Vogue for example). Flip it and you're left with “I'm Yours Tonight”: a highly sought after Patrick Miller holly grail that might have been too honest to be taken seriously by the already "house" infected zeitgeist which might have been dominating the mainstream for the tail end of the late 80s. But for many faithful HiNRG scholars this would never leave our radars, so here it is again at a now reasonable price and remastered for serious club application.

Cover with bumped corner

Dark Entries summons Philadelphia synthesizer scribes The Ghostwriters to rouse their ambient masterwork Remote Dreaming. The late Buchla maestro Charles Cohen and multi-instrumentalist Jeff Cain joined up in 1971 to craft electroacoustic chaos as Anomali, later renaming themselves The Ghostwriters. Their collaborations with choreographers and visual media artists led to their singular style, straddling improvisation and composition, the oneiric and the immediate. Following their debut album, Objects in Mirrors Are Closer Than They Appear, they were approached by ambient outlet Mu-Pysch. Remote Dreaming would take shape in various studios over nine months. Jeff Cain's instruments on this project included electric and acoustic pianos, the Juno 106 synthesizer, and a Mirage sampler, while Charles Cohen used his signature Buchla 200 Series Electronic Musical Instrument. A stark departure from the tightly wound first LP, Remote Dreaming shows the duo unfurling with soothing pianos and psychoacoustic textures, its somnambulant drones just skirting the edges of the uncanny. Although ignored in its time, Remote Dreaming is now heralded as a landmark in 80s experimental ambient music. It is here released for the first time on vinyl, spread across a double LP with five additional tracks, four of which were previously unreleased. Remote Dreaming has been freshly remastered and includes an insert with photos and liner notes. Proceeds will be donated to Sosa (Safe from Online Sex Abuse), a nonprofit that combats online child sex abuse and trafficking.

Dark Entries calls on Philadelphia experimental duo The Ghostwriters to resurrect their 1981 LP of minimalist mayhem, Objects In Mirrors Are Closer Than They Appear. The late Buchla maestro Charles Cohen and multi-instrumentalist Jeff Cain joined up in 1971 to craft electroacoustic chaos as Anomali, later renaming themselves The Ghostwriters. Their collaborations with choreographers and visual media artists led to their singular style, straddling improvisation and composition, the oneiric and the immediate. 1981 saw the release of their debut album, Objects In Mirrors Are Closer Than They Appear, a whirling, messy, telepathic slipstream cascading across an imaginary landscape. Recorded in Don Buchla’s childhood home, Objects offers 8 cuts of minimalist electronic bliss, equal parts icy and quirky, with standout cuts including the grooving havoc of “Fix it in the Mix” and the otherworldly hymn “Moon Chant.” These angular pearls will be cherished by fans of John Bender, Ceramic Hello, and all strains of outsider 80s electronics. Objects In Mirrors Are Closer Than They Appear has been freshly remastered and includes an insert with photos and liner notes. Proceeds from the album will be donated to Sosa (Safe from Online Sex Abuse), a nonprofit that combats online child sex abuse and trafficking.

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.

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.

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.