DAWL is one of our new skool producers who is a master of capturing the sound of the early 90’s raves. A genius in the studio who is capable and competent to be able to navigate between genres with skill and finesse.

Returning for his second outing on the Vinyl Fanatiks sister label, Amen Brother, DAWL turns in 4 mega old skool tracks that take you on a trip. Every release we have put out by DAWL sells out (he also released a screaming acid 303 EP for our other label Acid Boom last year) as he has a fanbase that draws in the original ravers along with the younger generation who have embraced this sound with vigour.

Grab a copy, drop it on the deck and go four a journey with a master craftsman!

Pressed on Black & Blue 180g marbled vinyl.

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Limited coloured repress of 100 copies!

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Limited coloured repress of 100 copies!

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Dawl with a new masterpiece! 3 tracks of lush bleepy Detroit and breakbeat sounding dancefloor bombs! Limited hand stamped copies..

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The return of DAWL to Craigie Knowes. 4 high-impact hardcore, bleep and electro tracks primed and ready for your local dancefloor. Stay electric.

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This is the very first and only single artist EP from Tone DropOut. This EP is the work of TDO co -owner DAWL. DAWL has put together four big dance floor electro bangers , that we felt should not be separated.

Each track shows off DAWL's skill, knowledge and love of electro, anyone who loves new and old school electro will love this. We have the big bass lines, the beautiful big deep synths and pads, bleeps and buzzes and that classic electro beat, and topped off with some cheeky sampled voices.

The title Track -Total Annihilation kicks off with its strong electro breakbeat and popping bleeps, going in and out, then comes the big fuzzy bassline and cinematic strings swooping through the track moving all the time, will get any dance floor going.

Track 2 infiltrator has those great claps over the electro beat before we get the busy bassline and the bleeps and buzzes and that driving synth, constantly moving .

Track 3 is Kaotik and that exactly what it is with its wobbly bleeps and whistles and pumped actioned bobbly bassline true electro.

Track 4 the final track on EP as strong as the others with its basslines and bleeps and strings and synths caps off this EP nicely.

Another Tone DropOut four track banger, all tracks ready for the dancefloor.

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Repress!

UK hardcore alumni DAWL joins Craigie Knowes for the 19th EP on the varied Scottish imprint. 'Let's Go' blends breaks and acid while 'Drop It' and 'Heavyweight' lean more firmly on the foundations of hardcore. 'Overdub' rounds the record off nicely as a rolling techno/electro tool that gives the purchasing DJ the chance to switch styles up while the dancers catch their breath.

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Number three is here and we're pleased to announce that it's led by a great artist who has produced nothing but heat for years - Dawl! "Ultimate Damage" is an EP brimming with emotions, encompassing Dawl's characteristic styles: nostalgic stabs, breaks, raw techno and bleeps. These are 4 tracks ready for the dance floor - don't miss this release!

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Essential 90's Techno reissue alert from Wildplanet, originally released on the legendary Detroit label 430west. Big!

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John Beltran with 2 analog raw and fierce sounding Acid trax! Limited hand stamped copies..

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From the old demo music vaults of Yagya, we found this amazing dub techno track dating back 15 years to the summer of 2008! Directly at the first listen we knew that this had to be fully released, Yagya was quick to agree, and also delivered 2 remixes himself and added another one from Octal Industries which resulted in a dub techno jam made in heaven!

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Limited coloured repress of 100 copies!

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Limited coloured repress of 100 copies!

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Unreleased Oligo tracks from the 90´s! Very strong sounding underground acid and techno feat. 8 tracks and 12 locked grooves. Big Tip!

No sales to Benelux.

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Legendary DeepChord/Yagya collaboration finally gets a vinyl pressing! 8 tracks of Ambient/dub techno of the highest quality. Limited pressing of 350 copies and no repress!

No sales to Benelux.

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DMX Krew on a dark rave trip! For fans of early UR, AFX etc..

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In the early 1980s, a particular alchemy between new musical technologies and significant social, cultural, and political transformations in Ghana gave rise to a new style of highlife. Drum machines and synthesisers appeared alongside lilting guitar lines and punchy horns, and the emerging Ghanaian diaspora began incorporating US disco and boogie, R&B, European new wave, and Caribbean zouk and soca into their music.

This style soundtracked the birth of a new, proud Ghanaian identity and captured the idiosyncrasies of a rapidly changing postcolonial society, marked by increased migration and wider access to global sounds and modern technology.

More than 20 years after the release of the heavy funk and Afrobeat-focused Ghana Soundz compilations, and following the success of 2009’s Ghana Special: Modern Highlife, Afro Sounds & Ghanaian Blues 1968-1981, Soundway is now shining the spotlight on the multifaceted, diasporic sounds of the ‘80s on new compilation Ghana Special - Volume 2, a collection of 18 burger highlife, electronic afrobeat, and reggae tracks.

Though Ghanaian to its very core, burger highlife emerged mostly outside of Ghana and just as the sun was setting on the country’s musical golden age. In the 1960s and 1970s cities such as Accra, Tema, Takoradi, and Cape Coast were home to thriving music scenes, and the loud horn sections of the big highlife bands, or the simpler, socially conscious palm wine music ruled the dance halls, locals drinkeries, and airwaves.

Back then music represented a powerful force, and an artist’s endorsement or dissent could make or break a politician. Perhaps to curb this power, the incoming military regime-imposed curfews and substantial import taxes on musical instruments in the early 1980s. These measures, coupled with a profound economic downturn and shifting musical preferences that saw DJs replacing large live bands, served as the final blow to Ghana's once-thriving music scene.

Musicians left Ghana in droves, scattering across West Africa, Europe, and North America. Thanks in part to its more permissive migration policies Germany became the heart of this scene, and the movement in fact takes its name from “Bürger”, the German for “citizen”. Less confined by genres than back in Ghana, artists in the diaspora were quick to engage with the different styles, working disco, boogie, and funk into their highlife melodies. Access to state-of-the-art studios and modern musical technologies also gave birth to all sorts of mutations: burger highlife in fact is less defined by one particular sound, than by the experimental approach and global outlook of its artists.

Tracks such as Ernest Honny’s experimental cut “New Dance” are an example of just how far artists strayed from original highlife arrangements. Honny, who started his career as a keyboard player with Dr K Gyasi’s band The Noble Kings, had moved to Benin in the 1980s, where he experimented with synthesisers and drum machines at one of Cotonou’s top studios. Similarly, Nan Mayen’s “Mumude” is a slick, 80’s pop track which was recorded in Germany, with only a slight echo of highlife in its opening Fanti lyrics.
This generation of artists found inspiration in sounds that transcended geographical boundaries: singer and guitarist Nana Budjei, who was originally from central Ghana but had moved to the UK in the 1980s, says that his radiant, sun-drenched 1988 track “Asobrachie” is “influenced by reggae maestros Bob Marley and Alpha Blondy, and traditional Akan folklore music”; on “Jigi Jigi”, the Kumasi-born, Sweden transplant Delips Apo draws on soca, latin, and zouk influences.

Throughout the 1980s Ghanaian artists kept producing increasingly innovative and experimental hybrids, winning over new audiences abroad. Though back in Ghana the new sound was initially met with disapproval by purists, it slowly became a symbol of a new, worldly and modern Ghanaian identity. The creativity and open mindedness that characterised burger highlife have gone on to shape the evolution of Ghanaian music since, giving artists the freedom to explore new global sounds while preserving a proudly Ghanaian soul. Ghana Special - Volume 2 stands as a vibrant tribute to the lasting legacy of this groundbreaking musical era.

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Hi! We are ready to present the second record from My Cup Of Tea produced by founder Piero, it includes 4 house tracks and broken beats with a warm and danceable sound, includes a remix by Carlo from Aterral. We hope that this copy will find its place not only on the shelf, but also in the bag and will always be relevant at any party. From the southern latitudes - with love!



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Limited coloured repress of 100 copies!

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EAN: 3516628221217 - A1: Prelude A2: Blizzard A3: ProtoVision A4: Odd Look A5: Rampage A6: Suburbia A7: Testarossa Autodrive B1:
Nightcall B2: Deadcruiser B3: Grand Canyon B4: First Blood B5: Roadgame B6: Endless
Finally here´s "OutRun", the first album. Nicolas Winding Refn's recent film, "Drive" operates on a level of cool that's hard to articulate with just words; it takes a snippet from the movie, take the opening credits backed by Kavinsky's 'Nightcall', to really grasp it's effortless debonair. Since the film's release, this
single's Youtube video has climbed to over 30 million views. Kavinsky is not all about Nightcall. He died in a car crash in 1986, whilst driving his beloved Testarossa. He re-appeared as a zombie in 2005, with his 12-inch, Teddy Boy. Crowds gathered to witness the miracle: despite being dead, Kavinsky was still alive. In 2007, he released his second 12-inch, '1986'. This is when his French robot mates in Daft Punk invited him to join their 'Alive Tour', and A-Trak put together an American Tour. After discovering the world with his red eyes, Kavinsky retreated to his base camp to release 'Nightcall' in 2011. 2012: Kavinsky is now releasing his long-awaited debut album ‚OutRun' produced by SebastiAn (Ed Banger records) including featuring by Havoc (Mobb Deep) , Tyson & SebastiAn. The word
is already spreading: ‚Nightcall' also used in Brad Furman's ‚lincoln Lawyer' OST; Roadgame in the trailer of he videogame ‚Hitman Absolution' and in the Mercedes France ‚Etoiles'advert ; Odd Look in ‚BMW i' ad campaign.

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Repress!

Re-release alert! Remastered version of a valuable electro must have!

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Anybody said local talent? These 4 Barcelona-based producers join forces to give life to Simple Times, putting together 4 dance-floor tools tainted with the touch of the 90’s. Aiming to preserve a timeless vibe, the tracks in this compilation touch on all flavors of progressive house music - they’re an ode to Italian and American House Music produced between 1990 and 1995, with an impeccable upbeat energy and driving percussions.

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vinyl only

Tracklisting
A1 Minube - Zaha Zhivai
A2 Minube & Rebreanu - Bro Disch Tut
B1 Minube & D I N - Wormhole
B2 Minube & Andrey Djackonda - Can't Stop The Time

Sales Note
Minube and friends join the Purple Print roster with a wide range of minimal goodness

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From the old demo music vaults of Yagya, we found this amazing dub techno track dating back 15 years to the summer of 2008! Directly at the first listen we knew that this had to be fully released, Yagya was quick to agree, and also delivered 2 remixes himself and added another one from Octal Industries which resulted in a dub techno jam made in heaven!

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Tracklisting
A1 Yan Cook - Hydraulic
A2 Yan Cook - Null
B1 Yan Cook - Imla (Red Rooms remix)
B2 Yan Cook - Imla

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Vinyl only

Tracklisting:
A1 Vid - Crazy
A2 Vid - Edge
B1 Vid - Last Stop
B2 Vid - Subumbre

Sales Note
Vid joins the Purple Print roster offering his signature dark minimal sound.


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