Friday 10/10, Saturday 11/10 and Sunday 12/10, 8-9pm, and then later on Mixcloud.com.

Thomas Dolby – “Flying North” (The Golden Age of Wireless, 1982)

Dolby crafted this moody opener with Prophet-5 and Jupiter-8 synths, layering sequenced arpeggios against airy pads. His production balances analog warmth with icy minimalism — a glimpse of the digital age to come.

Bill Nelson – “When Your Dream of Perfect Beauty Comes True” (The Love That Whirls, 1982)

Bill Nelson combined guitar textures with lush synth washes, drawing on the Yamaha CS-80 and Oberheim OB-Xa. The result is a blend of romanticism and futurist electronic shimmer.

Tangerine Dream – “White Eagle” (White Eagle, 1982)

Classic Tangerine Dream sequencing, using the PPG Wave 2.2 alongside Moog modular gear. The glassy digital tones of the PPG were revolutionary, bridging analog warmth and early wavetable synthesis.

Yazoo – “In My Room” (Upstairs at Eric’s, 1982)

Vince Clarke relied heavily on the ARP 2600, Roland System-100M, and sequencers, keeping arrangements stark and minimal. Alison Moyet’s vocal soars over these simple but haunting electronic beds.

Yello – “I Love You” (You Gotta Say Yes to Another Excess, 1983)

Dieter Meier and Boris Blank made inventive use of the Fairlight CMI sampler, blending quirky vocal snippets with the punch of the Roland TR-808. Their sonic collage approach was years ahead of its time.

Kraftwerk – “Tour de France” (Single, 1983)

Driven by the LinnDrum and EMS Synthi, this track is all about precision minimalism. The rhythm mimics cycling’s cadence, while vocoders and sequenced synths give it that unmistakable Kraftwerk gloss.

Orchestral Manoeuvres in the Dark – “Dazzle Ships” (Dazzle Ships, 1983)

OMD pushed into musique concrète territory, using shortwave radio samples alongside their Emulator I sampler. The track’s mechanical edges come from Prophet and Emulator layering with tape manipulation.

Brian Eno, Roger Eno & Daniel Lanois – “An Ending (Ascent)” (Apollo: Atmospheres and Soundtracks, 1983)

This ambient masterwork was created with Yamaha DX7 textures and lush treatments through Eventide processors. Eno’s minimal layering of synth pads creates the illusion of infinite space.

Cabaret Voltaire – “Just Fascination” (The Crackdown, 1983)

Driven by the Roland TR-808 and analog sequencers, Cabaret Voltaire moved from noise experiments to electro-funk here. A metallic, industrial groove crafted with early samplers and tape loops.

Depeche Mode – “Two Minute Warning” (Construction Time Again, 1983)

Produced with the Emulator I sampler, Roland Jupiter-8, and PPG Wave. Alan Wilder brought a harder, industrial edge — hammering found sounds into a pop framework.

Heaven 17 – “Let’s All Make a Bomb” (B-side, 1983)

The LinnDrum drives the rhythm, while Roland System 100M synths and Fairlight stabs flesh out the irony-laden groove. Heaven 17 always fused political edge with dancefloor sheen.

Herbie Hancock – “Rockit” (Future Shock, 1983)

Built on the Fairlight CMI, Prophet-5, and TR-808, with Grand Mixer DXT pioneering vinyl scratching. “Rockit” was a milestone: the marriage of jazz chops, hip-hop techniques, and digital sampling.

New Order – “Your Silent Face” (Power, Corruption & Lies, 1983)

Often compared to Kraftwerk, this track layers melodic lines from the Emulator I and Oberheim OB-Xa with a rolling 808 rhythm. Its simplicity makes it one of New Order’s most elegant songs.

Soft Cell – “Numbers” (The Art of Falling Apart, 1983)

Driven by sequenced analog synths like the ARP Odyssey and drum machine backdrops, “Numbers” is raw and pulsing — Marc Almond’s vocal draped over sleazy electronics.

SPK – “Metal Dance” (Single, 1983)

An industrial dance classic, fusing metallic percussion samples with TR-808 beats. SPK leaned on early samplers to turn noise into rhythm, paving the way for EBM.

Tears for Fears – “Suffer the Children” (The Hurting, 1983)

Combining live instruments with Roland Jupiter-8 pads and Emulator samples, the track’s emotional intensity rides on synth washes and layered vocals.

Thompson Twins – “Kamikaze” (Quick Step & Side Kick, 1983)

The LinnDrum once again at the core, with Jupiter-8 textures and Fairlight sampling. The Twins were masters of quirky but polished synth arrangements.

Vangelis – “Antarctica” (Antarctica, 1983)

The Yamaha CS-80 reigns supreme here — its glacial sweeps and expressive touch capture icy landscapes perfectly. Vangelis’s mastery of the CS-80 remains unmatched.

Yazoo – “State Farm” (You and Me Both, 1983)

Upbeat and funky, Vince Clarke layers ARP 2600 basslines with sharp Emulator stabs. It’s Yazoo at their most playful.

The Art of Noise – “Who’s Afraid of the Art of Noise?” (Who’s Afraid of the Art of Noise?, 1984)

A Fairlight CMI showcase. Trevor Horn and the team chopped voices, machines, and found sounds into rhythmic patterns — redefining what “pop” could mean.

Cabaret Voltaire – “Sensoria” (Micro-Phonies, 1984)

Groove-heavy, built around LinnDrum, sequencers, and digital sampling. One of Cabaret Voltaire’s most accessible tracks, pointing toward electronic dance futures.

Blancmange – “The Game Above My Head” (Mange Tout, 1984)

Roland Jupiter-8 and Emulator samples dominate this track, giving it both warmth and an experimental edge. Blancmange’s knack for blending pop with the avant-garde shines here.

Brad Fiedel – “The Terminator Theme” (The Terminator OST, 1984)

Composed entirely with a Prophet-10 and Oberheim synths, processed through tape delays and sequencers. The result: metallic, relentless, machine-like — the perfect sonic image of the film.