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On Retinae' was released in 1989 by Dip in the Pool, which has been re-discovered from around the world, as proven by a reissue of the album from an overseas labels two years ago. This has been a long-awaited reissue! In addition to Masyako Koda and Tatsushi Kimura, members of MARIAH, Yasuaki Shimizu, etc. participated in this work through the album. The genre of New Wave, Ambient alone can not be stopped, the present has caught up with the style that was ahead of its time. Listen to this masterpiece now!

2016 reissue on clear vinyl. with booklet. PVC sleeve. tiny wear. Numbered Limited edition.

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.

close to NM

* 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.

* 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.

• 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.

* 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.

180 gram vinyl.
Includes original insert.

The 1st Album is the gigantic debut studio album by German duo Modern Talking. The album peaked at number one in Germany, spending four weeks atop the chart and 18 weeks within the top 10. It sold more than eight million copies worldwide. The album spawned two singles, with 'You're My Heart, You're My Soul' topping the charts in Germany (where it spent four weeks at the top), Austria, Switzerland and Belgium, while charting inside the top five in France, Norway and Sweden. This song has about half a billion views on YouTube. Available as a 35th anniversary edition on white vinyl. The 3mm sleeve contains a gold-spot varnish on the Modern Talking logo on the front cover and the package includes an insert. Coming soon: Let's Talk About Love (The 2nd Album) / Ready For Romance (The 3rd Album) / In The Middle Of Nowhere (The 4th Album) / Romantic Warriors (The 5th Album).

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.

2022 repress; LP version. Obi strip; Includes two-page insert. Wewantsounds present a reissue of Akiko Yano's Tadaima., originally released in 1981. The first release Wewantsounds' ambitious program to release Akiko Yano's albums outside of Japan Tadaima. ("I'm home" in Japanese) is Yano's fifth studio album and a synth-pop masterpiece, co-produced by her then husband Ryuichi Sakamoto and featuring all the musicians from Yellow Magic Orchestra (Haruomi Hosono, Yukihiro Takahashi, and Sakamoto), the group she was touring with at the time. Japan's best kept secret, Akiko Yano is one of the most ground-breaking artists to come out of the '70s Japanese music scene along with Haruomi Hosono and Ryuichi Sakamoto. A piano child prodigy, Yano started her solo recording career in 1976 at just 21, recording her debut album Japanese Girl with no less than Little Feat as the backing band. This album created a stir on the Japanese scene and Yano was on the map. She went on to record a series of superb albums mixing funk, electro, and city pop featuring the cream of Japanese (and sometimes American and English) musicians; The fact she was producing, writing and composing herself made her a true maverick in a very male-dominated industry. These albums, incredibly, have never been released outside of Japan to this day. Tadaima. is Yano's first attempt to leave the acoustic piano aside and delve into the synth sounds of the early '80s. The result is a fascinating electro pop masterpiece showcasing her talent as a writer, musician, and singer, creating her own unique universe. Mixing Japanese and English lyrics, Yano crafts perfect pop songs such as "Tadaima.", "I Sing", "Harusaki Kobeni" (which became one of her most famous songs after its use in a Japanese cosmetics ad), while "Taiyo No Onara" is a suite composed of nine short stories written by children. Contributors on Tadaima. also include Shigesato Itoi, one of Japan's most famous copywriters (for Studio Ghibli among others) who wrote two tracks on the album and his friend legendary illustrator Teruhiko Yumura -- aka King Terry -- who revolutionized underground manga in the '70s with his "heta-uma" (bad-good) style, as showcased on the album's striking artwork. Tadaima. is the perfect entry point to Akiko Yano's unique body or work. This reissue includes original artwork by cult illustrator King Terry and a new introduction by renowned DJ Joakim.

Remastered from the original analogue tapes and pressed on 180-gram vinyl!

“Too Low for Zero” (stylized as 2 ↓ 4 0), released in 1983, is the seventeenth official album release for Elton John. The album marked a return to form for Elton, whose previous four albums had failed to yield many enduring international hit singles, and had disappointing sales compared to his string of hit records released during the first half of the 1970s. It is his best-selling album of the 1980s, earning Platinum certification by the RIAA. It produced several hit songs, each accompanied by successful MTV music videos, and it spent over a year on the Billboard album chart.

Limited edition re-issue of 1988 longplayer recorded live at the Music Centrum, Utrecht, The Netherlands in may 1987 !
Anne Clark is a poet, songwriter and singer in one person. The musician conveys her sophisticated lyrics to her audience through a kind of spoken word singing. She dresses them in a sound costume primarily characterized by electronic instruments, which lends her songs a certain coolness.
1988 saw the release of "R.S.V.P.", her first concert album, recorded at the Music Centrum, Utrecht in May 1987. The keyboard-heavy band performs with routine and sensitivity. A highlight of the disc is the mystic-mysterious sounding "Cane Hill". And also with "Wallies", one of her more popular songs, Anne Clark can score.
A very successful album, atmospheric, melodic, well produced. You can literally feel the intimate atmosphere between Anne Clark and the audience present. Also successful is the interpretation of the pieces, which are intoned live yet somewhat different than in the studio, consistently more melodic.

Record Store Day 2021 Drop 2 release Italy.

1981 was a groundbreaking year for the music industry. By releasing BGM and Technodelic in one year, YMO made a shift happen in Pop music. YMO introduced a new way of using samples and loops by cutting sound bites into fragments and reprogramming them with newly available computer technology.

180g vinyl.

* Ultra rare U.S Powerpop album from 1982 reissued for the first time ever * A U.S. powerpop killer & D.I.Y-nugget – Original album is rare and highly in demand * Deluxe reissue housed in gatefold sleeve * Expanded with bonus tracks * Printed inner sleeve filled with rare photos * Extensive liner notes by Kieron Tyler (Mojo) * Carefully restored and remastered sound * Colored vinyl (yellow)

The Trend is high explosive, hyperactive teenage powerpop. The Trend hailed from Kennett, Missouri and was formed back in 1979. Aged fifteen to sixteen at the time, and armed with guitars, striped t-shirts, skinny ties, tambourines and colorful drainpipe trousers. The Trend (Is In) was a full on powerpop and bubblegum-explosion.

One self-released (and nowadays mega-rare) album in 1982 and a just-as-hard-to-find 7-inch single from the previous year was all that The Trend unleashed on record during their short lifespan. Since then, appearances on compilations like Yellow Pills and Numero’s Buttons have made sure The Trend is in high demand amongst powerpop aficionados all over the world.

Trend’s debut 45 “She’s Hi-Fi” b/w “Lucky Day” is blistering class AAA powerpop that will most likely make anyone with the slightest interest in the genre strip off all clothes and do the helicopter. “The Girl At The Holiday In” shows that The Trend had moved on since the single. So much so that “The Girl I Used To Know” could have been recorded by one of the then contemporary Paisley Underground bands from Los Angeles. “Real Cheap Thrill” is raging Merseybeat-pop-mayhem bordering to killed by death-punk. “Two Plus Two” is suffused with the spirit of late 1960s Paul McCartney. Above all, The Trend is about direct, driving upbeat pop. “Go For Broke” could have clicked as a single, while “Southsiders (Waiting To Go Northside)” caught The Trend’s outlook in a nutshell: “power pop, bubblegum, punk rock, here we come.”

Housed in a deluxe gatefold sleeve that comes with a printed inner sleeve richly illustrated with rare and previously unpublished photos. In the extensive liner notes The Trend’s main man and song writer John McMullan tells the full story to Kieron Tyler (Mojo Magazine).

The Trend is finally in!

Floating Into The Night is the debut album by the American dream pop musician Julee Cruise, released in 1989. The album was produced, and all songs were written by, composer Angelo Badalamenti and film director David Lynch. Two singles were released from the album: "Falling" and "Rockin' Back Inside My Heart", both of which are featured in Lynch's television series, Twin Peaks. An instrumental version of "Falling" is used as the theme song to the series.

180g vinyl.

Give Me The Night is the 1980 album by ten-time Grammy Award-winning American musician and singer-songwriter George Benson. Produced by Quincy Jones and originally released on Jones' start-up label Qwest Records, the album charted number one on both the Top Soul Albums and Jazz Albums Chart as well as number three on the Billboard Pop Albums charts.

180g audiophile vinyl.

Limited 180gm audiophile vinyl LP pressing including bonus track - 'Blue' - and insert. Fumbling Towards Ecstasy is the third album by Canadian singer/songwriter and Grammy Award winner Sarah McLachlan and proved to be her worldwide breakthrough album. It reached the Top 5 In Canada in no time and went certified platinum within a few weeks, eventually selling over four million copies worldwide. Besides the hit singles 'Possession', 'Hold On' and 'Good Enough', the album contains the track 'Fear and Ice Cream', which became a favorite during Sarah McLachlan concerts over the years. As a bonus track, the album also includes a wonderful cover of the classic Joni Mitchell song 'Blue'.

180gr/5th Album/2000 Cps On Pink & Purple
Coloured Vinyl, High Quality
Romantic Warriors is the fifth studio album by German pop duo Thomas Anders and Dieter Bohlen, better known together as Modern Talking. It continued Modern Talking's reign as one of the most popular synthpop acts of their time.

Original inner sleeve

Stella is the fourth studio album by the Swiss electronic band Yello, first released in 1985. It was the band's breakthrough album internationally, helped by the success of the song "Oh Yeah", which gained the band worldwide attention the following year after it was prominently featured in the 1985 film Ferris Bueller's Day Off and then two years later in The Secret Of My Success.

180 gram audiophile vinyl / 1986 ALBUM WRITTEN AND PRODUCED BY THE TWO-TIME GRAMMY AWARD WINNER AND ROCK AND ROLL HALL OF FAME LEGEND / FEATURING THE SINGLE “WHAT ABOUT THE LOVE” / LIMITED EDITION ON PINK & PURPLE MARBLED VINYL

Billy Preston was an American musician, who encompassed R&B, rock, soul, funk and gospel. He worked as a top session musician during the Sixties, backing artists such as Little Richard, Sam Cooke, The Rolling Stones and the Beatles amongst others. He is even the only non-Beatle musician to be given a credit on a Beatles recording at the band’s request. His solo career took off during the first half of the Sixties, but it was his early Seventies soul work that put him on the permanent musical map. You Can’t Keep A Good Man Down was one of Preston’s final studio albums and originally came out in 1986.

Ian Elms’s cult isolationist synth masterpiece Good Night returns via Dark Entries. Originally released in 1982, Good Night blends Berlin school minimalism and BBC Radiophonic weirdness with the aesthetics of then-nascent DIY punk electronics throughout its fifteen short tracks. According to Elms, these pieces were composed in two broad but interrelated modes: pieces with voice and synthesizer, which are obliquely narrative, and instrumental synthesizer pieces that aspire to capture fleeting emotions. Ian met with producer David Hoser at Octopus Studios and they began constructing pieces using a Polymoog Keyboard 280a, sampled drum tracks, and Elms’s synthesizer. On “The Street Enters the House”, live drums lurch along with skeletal motifs while Elms’s elliptical lyrics evoke domestic discontent. “A Light Moves Across Curtains” features metronomic pummeling and icy strings buttressing the scant cryptic lines from Elms. Instrumental gems like “Goodnight” and “Surrounded by Trees” are built around detuned riffs in round-like structure, both drifting and static like the motion of waves. With original pressings fetching three digits – if you can even find a copy – this reissue is essential listening for fans of John Bender, Transparent Illusion, and the early 80’s DIY cassette scene. Each copy of Good Night comes with a postcard featuring a photograph and notes by Elms. “This record is intended for anyone who by accident or design spends most of their time alone (whether in the body or in the mind).” – Ian Elms.

Long out of print NDW cult classic album "Weltweit" by MONOPOL. Released in 1982, "Weltweit" was the sole output of the band. It has appropriately become quite rare and difficult to find with the resulting high prices to obtain an original copy. Inspired by the greats such as Kraftwerk, YMO and Klaus Schulze, the three members crafted an exquisite collection of electronic pop songs played on a very impressive collection of analog synthesizers, self-builds and drum machines, that were considered cutting edge at the time.

The much acclaimed city pop masterpiece with flavors of boogie-disco, funk and fusion and the soulful voice of Eri Ohno. Originally released in 1981 and repressed on vinyl for the very first time from the original master tapes.
Limited edition. Comes with insert.

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

Limited to 300 units. Only at HHV.

Japanese pressing without OBI. close to NM.

Japanese pressing with OBI!

2nd cd with 15 rare and spec.tracks

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.

No obi.

Original japanese pressing with obi. Cover is close to NM.

Note: Pressing error, same label on both sides.

The lamination on cover is peeling off.

Japanese pressing, no Obi.

Japanese pressing without obi, includes lyric sheet |

Japanese pressing without OBI!

Japanese pressing with obi.

Japanese pressing without OBI, but with insert.

Vinyl is close to NM.

Includes original insert, Obi included.

Japanese pressing with obi.

Japanese pressing with obi.

With OBI. Vinyl seems unplayed. Cover is close to NM.

Japanese pressing with OBI. tiny wear.

Japanese pressing with OBI and insert.

Japanese pressing with insert and OBI. Copy closer to NM

OBI is missing!

OIS included.

Cover and vinyl are close to NM.

Small sticker on cover.

Japanese pressing.

close to NM