1
YIN YIN - Nata Ni Thale
2
YIN YIN - Pingpxng
3
YIN YIN - One Inch Punch
4
YIN YIN - Lotus
5
YIN YIN - Thom Ki Ki
6
YIN YIN - On Yiep
7
YIN YIN - Alpaca
8
YIN YIN - Kroy Wen
9
YIN YIN - Sui Ye
10
YIN YIN - The Rabbit That Hunts Tigers
11
YIN YIN - A Ballad For Chong Wang
12
YIN YIN - The Sacred Valley Of Cusco
13
YIN YIN - Disco
Repress!
"Where to place YIN YIN on the map ? Maybe somewhere between Netherlands and South-East Asia, on an imaginary tropical island. That’s where they brew a strange cocktail made of discogrooves, powerful “thaï beat” tunes and experimental tropi-synths. After two remarkable singles on Les Disques Bongo Joe, they’re back with « The Rabbit That Hunts Tigers ». Made of groovy tunes and dance killers, this album could be the crazy soundtrack of a 60s hippie village on the South China Sea.
Yin Yin passed last months burning scenes and make people dance around Europe. But they found just enough time to record this first tape in a ballet school in a remote village near the Alpaca Mountain. Kees Berkers and Yves Lennertz were the puppet masters of this in-studio experience. The result is a landscape where rabbits chase after tigers, an upside-down world were you'll definitely dance for ever."
It’s one of the coolest things to emerge from the Dutch Deep South in quite a while: the debut album by Yin Yin (not counting last year’s cassette only ‘Pingpxng’). The Maastricht outfit pairs a deep appreciation of South East Asian sixties and seventies instrumental music with a slick modern funk and disco groove, tied together by a solid understanding of timeless cinematic sounds, as exemplified perfectly by the opening track, a laidback Thai funk groove that ends in psychedelic turmoil. ‘One Inch Punch’ (released as a single earlier this year) is one of the many standout tracks here - a luscious Asian space disco affair that sounds like the soundtrack of a Shaw Brothers movie that never happened. Yin Yin show off their instrumental skills on the freeflowing ‘Alpaca Mountain’ and go straight for the dancefloor with the infectious disco stomper ‘Sui Ye’. Their all-encompassing open-mindedness is perhaps best illustrated by the title track - a strange concoction of spaghetti western sounds, cheeky disco and Thai funk. ‘The Rabbit that Hunts Tigers’ is another winner for Bongo Joe and mandatory listening for fans of Khruangbin, Altin Gün and Jungle by Night. (Ro)
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
"Where to place YIN YIN on the map ? Maybe somewhere between Netherlands and South-East Asia, on an imaginary tropical island. That’s where they brew a strange cocktail made of discogrooves, powerful “thaï beat” tunes and experimental tropi-synths. After two remarkable singles on Les Disques Bongo Joe, they’re back with « The Rabbit That Hunts Tigers ». Made of groovy tunes and dance killers, this album could be the crazy soundtrack of a 60s hippie village on the South China Sea.
Yin Yin passed last months burning scenes and make people dance around Europe. But they found just enough time to record this first tape in a ballet school in a remote village near the Alpaca Mountain. Kees Berkers and Yves Lennertz were the puppet masters of this in-studio experience. The result is a landscape where rabbits chase after tigers, an upside-down world were you'll definitely dance for ever."
It’s one of the coolest things to emerge from the Dutch Deep South in quite a while: the debut album by Yin Yin (not counting last year’s cassette only ‘Pingpxng’). The Maastricht outfit pairs a deep appreciation of South East Asian sixties and seventies instrumental music with a slick modern funk and disco groove, tied together by a solid understanding of timeless cinematic sounds, as exemplified perfectly by the opening track, a laidback Thai funk groove that ends in psychedelic turmoil. ‘One Inch Punch’ (released as a single earlier this year) is one of the many standout tracks here - a luscious Asian space disco affair that sounds like the soundtrack of a Shaw Brothers movie that never happened. Yin Yin show off their instrumental skills on the freeflowing ‘Alpaca Mountain’ and go straight for the dancefloor with the infectious disco stomper ‘Sui Ye’. Their all-encompassing open-mindedness is perhaps best illustrated by the title track - a strange concoction of spaghetti western sounds, cheeky disco and Thai funk. ‘The Rabbit that Hunts Tigers’ is another winner for Bongo Joe and mandatory listening for fans of Khruangbin, Altin Gün and Jungle by Night. (Ro)
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from YIN YIN
Preview: https://www.youtube.com/watch?v=y9ycFyakiBk
Tracklist:
1.In Search of Yang
2.Spirit Adapter
3.Lecker Song
4.Yata Yata
5.Night in Taipei
6.Golden Lion
7.Elma
8.Kasumi's Quest
9.Slow Burner
10.Pattaya Wrangler
11.Mooncake Melody
On their fourth album Yatta!, the celebrated Dutch quartet YIN YIN extends, bends, and ignites a joyous mix of disco, funk, surf, psychedelia, and Southeast Asian motifs. UNCUT magazine previously dubbed their highly addictive sound “cosmic disco”—a fitting starting point—but as Yatta! proves, the band's sonic footprint is an ever-evolving kaleidoscope of sounds, textures, and beats.
As with their breakthrough album Mount Matsu (2024), their devotion to getting the dance floor moving remains front and center. That impulse, already strong, has intensified — Yatta! lifting it to an ecstatic next level.
The result? An album that reveals a band whose groove just keeps getting deeper.
---------------------------------
The opening track on YIN YIN’s new album, Yatta!, begins with a sample of the philosopher Alan Watts expounding: “There is no Yang without Yin and no Yin without Yang.”
Appropriately enough, the track – a jubilantly upbeat slice of disco action – is called “In Search of Yang,” and begs a question about the meaning of the group’s name. The group’s drummer and co-founder, Kees Berkers, explains: “Yin Yang is about balance between two different forces and Yin Yin would essentially mean two negative forces that cannot reach a common ground. So, YIN YIN is about finding a balance in the unbalanced.”
Certainly, over the last six years, the quartet from Maastricht in the south of the Netherlands has built a reputation for balancing an eclectic range of influences and using them to forge something that is affectionately retro and, at the same time, fresh and forward-facing.
The group’s origins lie in an experimental jam session in a remote village ballet school in 2017, leading to the release of the single, “Dion Ysiusk,” the following year. The debut album, The Rabbit That Hunts Tigers was released in 2019, followed by The Age of Aquarius in 2022. After a few personnel changes, the quartet’s line-up had, by 2023, arrived at its current form of Kees Berkers (drums), Remy Scheren (bass), Jerôme Scheren (keyboards) and Erik Bandt (guitar). 2024 saw the release of Mount Matsu, now followed by the group’s most complete statement to date, Yatta!
From the beginning, YIN YIN have been devoted to exploring global sounds with an emphasis on getting the dance floor moving – an impulse that reaches its peak on Yatta!
One major influence is the sound of Italo Disco – the spacey brand of disco music that arose in Italy in the late 1970s. “It has something of a mystique,’ says Berkers. “All the producers were using new recording techniques and effects, but there are not many pictures or videos of how they were creating things in the studio. You have to use your own fantasy and create your own story about how that music is created.” You can hear that sense of mystery on tracks like “In Search of Yang,” with its endless groove and trippy backwards guitar effects.
Across the album, YIN YIN specialise in creating the soundtracks to dream journeys, opportunities for the listener to visit places that exist in realms of the imagination.
“That’s a big reason why the music’s instrumental,” Berkers confirms. “It leaves a lot of room for the listener to fill in the gaps. You can really make your own trip of it. It’s very movie-like.” And it’s not just the movies we get to visit. “Kasumi’s Quest” is built around a mysteriously ascending and descending synth figure, coming come across like the music to a lost computer game – “an imaginary quest of an imaginary character in an imaginary world,” says Berkers. “It could be like a difficult quest in a dungeon, and Kasumi could be the character that you’re playing.”
If there’s a general direction of travel in YIN YIN’s expeditions, it’s towards the east, with Asian influences coming through loud and clear. “Lecker Song” feels like a 1960s Japanese soul-funk spy movie theme with a sample of a koto buried in the mix. “Yata Yata” could be the throbbing disco soundtrack to a Thai spaghetti western. “Night in Taipei” is an atmospheric ballad summoning a fragrant evening in the Taiwanese capital, and “Pattaya Wrangler” suggests a sundown stroll on the Thai city’s golden beaches.
It's a fascination that has suffused YIN YIN’s sound since, in the early days, they stumbled upon a couple of compilation albums of psychedelic 60s and 70s guitar music from Southeast Asia. “Those albums had the most influence on that East Asian route we took,” Berkers recalls. “Via those compilations, we got to YouTube channels where we couldn't read anything because everything was in Thai letters or in Chinese symbols – and that felt like we found the treasure!’”
Adopting Eastern tunings has imparted an unusual feel to YIN YIN’s music and challenged them as songwriters.
Berkers explains: “If you're making music for a long time you get to some points where you think ‘I'm always doing the same thing.’ And then a simple YouTube channel or a compilation can give you that spark you need!”
There’s no shortage of sparks in Yatta!’s blend of dancefloor fillers and laidback soundscapes. Guitarist Erik Bandt explains: “We tried to make a mix of songs that are very energetic, danceable party starters, but also have songs that take you on trips and are more easy.”
Underpinning all of this is a welcoming, natural feel, with everything recorded directly to tape.
“It’s our most organic album to date,” says Bandt. “We recorded together as a team in the studio instead of recording separate tracks for drums, guitar, bass – it’s all live and that adds a certain feel.”
All of which explains the album’s title. Bandt says: “Yatta is a Japanese phrase meaning ‘We did it, we accomplished it!’ After we finished the album, we thought this simple phrase actually ties it all together.” Berkers continues: “It also speaks for a more general idea that we, as a band, succeeded to really become a band on a professional level. So, it's also, ‘We finally are true musicians now. We have arrived.’ Basically, we made the dream come true.”
Yatta! Is the sound of four musicians finding their own globe-trotting groove, and having the time of their lives exploring it. Lucky for us, we’re invited too.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklist:
1.In Search of Yang
2.Spirit Adapter
3.Lecker Song
4.Yata Yata
5.Night in Taipei
6.Golden Lion
7.Elma
8.Kasumi's Quest
9.Slow Burner
10.Pattaya Wrangler
11.Mooncake Melody
On their fourth album Yatta!, the celebrated Dutch quartet YIN YIN extends, bends, and ignites a joyous mix of disco, funk, surf, psychedelia, and Southeast Asian motifs. UNCUT magazine previously dubbed their highly addictive sound “cosmic disco”—a fitting starting point—but as Yatta! proves, the band's sonic footprint is an ever-evolving kaleidoscope of sounds, textures, and beats.
As with their breakthrough album Mount Matsu (2024), their devotion to getting the dance floor moving remains front and center. That impulse, already strong, has intensified — Yatta! lifting it to an ecstatic next level.
The result? An album that reveals a band whose groove just keeps getting deeper.
---------------------------------
The opening track on YIN YIN’s new album, Yatta!, begins with a sample of the philosopher Alan Watts expounding: “There is no Yang without Yin and no Yin without Yang.”
Appropriately enough, the track – a jubilantly upbeat slice of disco action – is called “In Search of Yang,” and begs a question about the meaning of the group’s name. The group’s drummer and co-founder, Kees Berkers, explains: “Yin Yang is about balance between two different forces and Yin Yin would essentially mean two negative forces that cannot reach a common ground. So, YIN YIN is about finding a balance in the unbalanced.”
Certainly, over the last six years, the quartet from Maastricht in the south of the Netherlands has built a reputation for balancing an eclectic range of influences and using them to forge something that is affectionately retro and, at the same time, fresh and forward-facing.
The group’s origins lie in an experimental jam session in a remote village ballet school in 2017, leading to the release of the single, “Dion Ysiusk,” the following year. The debut album, The Rabbit That Hunts Tigers was released in 2019, followed by The Age of Aquarius in 2022. After a few personnel changes, the quartet’s line-up had, by 2023, arrived at its current form of Kees Berkers (drums), Remy Scheren (bass), Jerôme Scheren (keyboards) and Erik Bandt (guitar). 2024 saw the release of Mount Matsu, now followed by the group’s most complete statement to date, Yatta!
From the beginning, YIN YIN have been devoted to exploring global sounds with an emphasis on getting the dance floor moving – an impulse that reaches its peak on Yatta!
One major influence is the sound of Italo Disco – the spacey brand of disco music that arose in Italy in the late 1970s. “It has something of a mystique,’ says Berkers. “All the producers were using new recording techniques and effects, but there are not many pictures or videos of how they were creating things in the studio. You have to use your own fantasy and create your own story about how that music is created.” You can hear that sense of mystery on tracks like “In Search of Yang,” with its endless groove and trippy backwards guitar effects.
Across the album, YIN YIN specialise in creating the soundtracks to dream journeys, opportunities for the listener to visit places that exist in realms of the imagination.
“That’s a big reason why the music’s instrumental,” Berkers confirms. “It leaves a lot of room for the listener to fill in the gaps. You can really make your own trip of it. It’s very movie-like.” And it’s not just the movies we get to visit. “Kasumi’s Quest” is built around a mysteriously ascending and descending synth figure, coming come across like the music to a lost computer game – “an imaginary quest of an imaginary character in an imaginary world,” says Berkers. “It could be like a difficult quest in a dungeon, and Kasumi could be the character that you’re playing.”
If there’s a general direction of travel in YIN YIN’s expeditions, it’s towards the east, with Asian influences coming through loud and clear. “Lecker Song” feels like a 1960s Japanese soul-funk spy movie theme with a sample of a koto buried in the mix. “Yata Yata” could be the throbbing disco soundtrack to a Thai spaghetti western. “Night in Taipei” is an atmospheric ballad summoning a fragrant evening in the Taiwanese capital, and “Pattaya Wrangler” suggests a sundown stroll on the Thai city’s golden beaches.
It's a fascination that has suffused YIN YIN’s sound since, in the early days, they stumbled upon a couple of compilation albums of psychedelic 60s and 70s guitar music from Southeast Asia. “Those albums had the most influence on that East Asian route we took,” Berkers recalls. “Via those compilations, we got to YouTube channels where we couldn't read anything because everything was in Thai letters or in Chinese symbols – and that felt like we found the treasure!’”
Adopting Eastern tunings has imparted an unusual feel to YIN YIN’s music and challenged them as songwriters.
Berkers explains: “If you're making music for a long time you get to some points where you think ‘I'm always doing the same thing.’ And then a simple YouTube channel or a compilation can give you that spark you need!”
There’s no shortage of sparks in Yatta!’s blend of dancefloor fillers and laidback soundscapes. Guitarist Erik Bandt explains: “We tried to make a mix of songs that are very energetic, danceable party starters, but also have songs that take you on trips and are more easy.”
Underpinning all of this is a welcoming, natural feel, with everything recorded directly to tape.
“It’s our most organic album to date,” says Bandt. “We recorded together as a team in the studio instead of recording separate tracks for drums, guitar, bass – it’s all live and that adds a certain feel.”
All of which explains the album’s title. Bandt says: “Yatta is a Japanese phrase meaning ‘We did it, we accomplished it!’ After we finished the album, we thought this simple phrase actually ties it all together.” Berkers continues: “It also speaks for a more general idea that we, as a band, succeeded to really become a band on a professional level. So, it's also, ‘We finally are true musicians now. We have arrived.’ Basically, we made the dream come true.”
Yatta! Is the sound of four musicians finding their own globe-trotting groove, and having the time of their lives exploring it. Lucky for us, we’re invited too.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from Bongo Joe
1
The Mauskovic Dance Band - Bukaroo Bank
2
The Mauskovic Dance Band - Face
3
The Mauskovic Dance Band - Wie Niet Weg Is Is Geizen
4
The Mauskovic Dance Band - Parata Est
5
The Mauskovic Dance Band - Zwaar
6
The Mauskovic Dance Band - Bebi
7
The Mauskovic Dance Band - People In The Hall
8
The Mauskovic Dance Band - Dr Rhythm Space
9
The Mauskovic Dance Band - Telefoon Dub
10
The Mauskovic Dance Band - Samen
11
The Mauskovic Dance Band - Bukaroo Bank - Slow Version
12
The Mauskovic Dance Band - Slow Crack
Amsterdam based Mausovic Dance Band make madcap music intent on expanding musical universes. Powered by elastic rhythms and some potent dub wizardry, the five-piece are synonymous with flipping global music traditions and creating new, sound-system stylised, synth powered, dance-floor experiments. Whilst their 2019 debut album on Soundway Records offered a frenetic mix, imbued by the Colombian champeta, Ghanaian highlife and spaced out disco, their new forthcoming album Buckaroo Bank, set for release on Swiss label Bongo Joe Records, feeds off the industrial sounds of New York City, post punk and early electronic explorers. At the very centre of the project is the dub, the Mauskovic echo chamber, guided by their universal hero Lee Scratch Perry and made possible by their studio friend Kasper Frenkel who provided the tools this new Mauscovic riddim philosophy. A proper family band (4 of them are related), and fronted by Nico Mauscovic who is also part of Zamrock touring band W.I.T.C.H., the group have released various singles since their debut album including on Berlin label Dekmantel and most recently, on experimental Swiss label Bongo Joe, their perfect home for brand new album Buckaroo Bank.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Housepainters - Funkhause
2
Housepainters - Fixed Position
Started as a home-recording project, the Amsterdam-based three piece finds itself on a middle ground between wave-punk and dub merging into gloomy yet upbeat tunes. With "Fixed Position", Housepainters releases their first single on Swiss label Bongo Joe Records.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Baby's Berserk - Toxic Kisses
2
Baby's Berserk - Wartime
Toxic Kisses
The rave next door won’t quit. It’s 5 in the morning, but the kids in the garage want just
one more song: Toxic Kisses. An upbeat, poetic, pep-rally bop that serves a catchy
reminder to give love to your friends today, so you don’t lose them to hate tomorrow
Wartime
The churning robotic bass synth and hypnotic polyrhythms of Wartime evoke the
trance-like states we find ourselves in daily. Reject the war industry we’ve been thrust
into with dance as your revolution.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
The rave next door won’t quit. It’s 5 in the morning, but the kids in the garage want just
one more song: Toxic Kisses. An upbeat, poetic, pep-rally bop that serves a catchy
reminder to give love to your friends today, so you don’t lose them to hate tomorrow
Wartime
The churning robotic bass synth and hypnotic polyrhythms of Wartime evoke the
trance-like states we find ourselves in daily. Reject the war industry we’ve been thrust
into with dance as your revolution.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Don Melody Club - Maandagmotto
2
Don Melody Club - Zontimenteel
Zontimenteel celebrates the first incoming sun rays of the summer. The warm and gloomy sound of the Meastro Rhythm King drummachine and the analog synths worships the sentiment we all carry for the sun and its munificence for always creating new grateful moments.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Nico Mauskovic - A Big Brain
2
La Perla - Guayabo
3
Meridian Brothers Y Grupo Renacimiento - Bomba Atomica
4
Graham Mushnik - Octopus Dance
5
La Redada - Calla Boca
6
Alex Figueira & A.Bechan - Moerarie Morei Atjara Version
7
Coco María - Me Veo Volar
8
Frente Cumbiero - Cumbia Del Asilo
9
Romperayo - Tout Doux Bass Version
10
Les Pythons De La Fournaise - El Ritmo De Chico
11
Malphino - Aji De Malphino
PRE-ORDER FOR REPRESS Q1 2022!
Bongo Joe presents “Club Coco”, a summery outernational Latin and afro rooted music compilation curated by Coco María.
An attempt to give back something to music lovers around the world and print on an object a piece of the essence of the community that has been gathering around her weekly radio show at Worldwide FM.
In many ways, Coco María is like a music detecting sunflower. Just naturally she is turning her ears into the direction from where happily vibrating music from all around the world is emerging. She is a DJ and radio host whose musical selection transmits the energy of the Caribbean, Brazil and the rest of Latin America through records full of samba, jazz, charanga and cumbia, whilst embracing an internationalist vibe that can also include the most eclectic influences.
This LP gathers some of the i nescapable artists that have been part of Coco María’s shows. The list includes Nico Mauskovic, La Perla, Meridian Brothers y Grupo Renacimiento, Graham Mushnik, La Redada, Alex Figueira, Frente Cumbiero, Les Pythons de la Fournaise, Romperayo, Malphino, Max Weissenfeldt and even Coco María herself.
In many ways, the tracks of the album showcase how these artists use music to reconcile both their pride in Latin American and Afro culture as well as their interest in being part of the cosmopolitanism of big European cities. Thus, each track adds a particular detail into building a perfect soundtrack for a community that is always travelling back and forwards between both regions, always looking for songs that explore the furthest frontiers of tropical music while staying true to the roots of their genres.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Bongo Joe presents “Club Coco”, a summery outernational Latin and afro rooted music compilation curated by Coco María.
An attempt to give back something to music lovers around the world and print on an object a piece of the essence of the community that has been gathering around her weekly radio show at Worldwide FM.
In many ways, Coco María is like a music detecting sunflower. Just naturally she is turning her ears into the direction from where happily vibrating music from all around the world is emerging. She is a DJ and radio host whose musical selection transmits the energy of the Caribbean, Brazil and the rest of Latin America through records full of samba, jazz, charanga and cumbia, whilst embracing an internationalist vibe that can also include the most eclectic influences.
This LP gathers some of the i nescapable artists that have been part of Coco María’s shows. The list includes Nico Mauskovic, La Perla, Meridian Brothers y Grupo Renacimiento, Graham Mushnik, La Redada, Alex Figueira, Frente Cumbiero, Les Pythons de la Fournaise, Romperayo, Malphino, Max Weissenfeldt and even Coco María herself.
In many ways, the tracks of the album showcase how these artists use music to reconcile both their pride in Latin American and Afro culture as well as their interest in being part of the cosmopolitanism of big European cities. Thus, each track adds a particular detail into building a perfect soundtrack for a community that is always travelling back and forwards between both regions, always looking for songs that explore the furthest frontiers of tropical music while staying true to the roots of their genres.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Meridian Brothers - En Teusaquillo Te
2
Meridian Brothers - Mi Primo El Boxeador
3
Meridian Brothers - El Profesionalismo Es Importante
4
Meridian Brothers - Pensando En Mi Morena
5
Meridian Brothers - La Secta
6
Meridian Brothers - Paz En La Tierra
7
Meridian Brothers - La Tocata De Ivan El Terrible
8
Meridian Brothers - La Conquista De Otros Planetas
9
Meridian Brothers - Pesadilla
10
Meridian Brothers - El Hombre De Alma Traicionada
Paz en La Tierra is a result of a search by the Meridian Brothers & Conjunto Media Luna of the heart of something that can be called a 'power format' of Colombian Caribbean music; Accordion , Guacharaca, Caja, Congas, Electric bass, and vocals.
Departing from this idea, and casually working with the music of a documentary on the famous singer Diomedes Diaz, Iván Medellín (accordionist of Conjunto media luna), and Eblis Álvarez from the Meridian Brothers, embarked on a new work building a sound exclusively on the traditional format, searching for several spaces between the lines in the universe of accordion in Colombian music.
The duo departed from the basic: the line of vallenato, the most famous in the country but not the only one, the line of sabanero music more of the lands of Sucre and Córdoba inclined towards cumbia, bullerengue, son vallenato among other airs fed the group's ideas. The Barranquilla center deserves a separate mention, due to its cosmopolitan approach, using all kinds of in?uences, from the Caribbean islands to ancient rhythms or even modern rock and funk, also used as an inspiration for this record.
In the process, new ways of melody appeared and new ways of expression emerged. Although the rhythms used in the record are rooted in the traditional, the duo glitched those rhythms turning them into new directions in the style, using exclusively the past references to transmute the sound into something that looks inside a parallel future.
Using several theatrical situations, alterations in musical structures, and slight deformations of the traditional harmony (a tonal center and its dominant) the result of "Paz en la Tierra" is enigmatic and charming, and at the same time directed towards the dance ?oor keeping the past alive and ?ourishing the essence of the tradition.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Departing from this idea, and casually working with the music of a documentary on the famous singer Diomedes Diaz, Iván Medellín (accordionist of Conjunto media luna), and Eblis Álvarez from the Meridian Brothers, embarked on a new work building a sound exclusively on the traditional format, searching for several spaces between the lines in the universe of accordion in Colombian music.
The duo departed from the basic: the line of vallenato, the most famous in the country but not the only one, the line of sabanero music more of the lands of Sucre and Córdoba inclined towards cumbia, bullerengue, son vallenato among other airs fed the group's ideas. The Barranquilla center deserves a separate mention, due to its cosmopolitan approach, using all kinds of in?uences, from the Caribbean islands to ancient rhythms or even modern rock and funk, also used as an inspiration for this record.
In the process, new ways of melody appeared and new ways of expression emerged. Although the rhythms used in the record are rooted in the traditional, the duo glitched those rhythms turning them into new directions in the style, using exclusively the past references to transmute the sound into something that looks inside a parallel future.
Using several theatrical situations, alterations in musical structures, and slight deformations of the traditional harmony (a tonal center and its dominant) the result of "Paz en la Tierra" is enigmatic and charming, and at the same time directed towards the dance ?oor keeping the past alive and ?ourishing the essence of the tradition.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
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Preview: https://www.youtube.com/watch?v=y9ycFyakiBk
Tracklist:
1.In Search of Yang
2.Spirit Adapter
3.Lecker Song
4.Yata Yata
5.Night in Taipei
6.Golden Lion
7.Elma
8.Kasumi's Quest
9.Slow Burner
10.Pattaya Wrangler
11.Mooncake Melody
On their fourth album Yatta!, the celebrated Dutch quartet YIN YIN extends, bends, and ignites a joyous mix of disco, funk, surf, psychedelia, and Southeast Asian motifs. UNCUT magazine previously dubbed their highly addictive sound “cosmic disco”—a fitting starting point—but as Yatta! proves, the band's sonic footprint is an ever-evolving kaleidoscope of sounds, textures, and beats.
As with their breakthrough album Mount Matsu (2024), their devotion to getting the dance floor moving remains front and center. That impulse, already strong, has intensified — Yatta! lifting it to an ecstatic next level.
The result? An album that reveals a band whose groove just keeps getting deeper.
---------------------------------
The opening track on YIN YIN’s new album, Yatta!, begins with a sample of the philosopher Alan Watts expounding: “There is no Yang without Yin and no Yin without Yang.”
Appropriately enough, the track – a jubilantly upbeat slice of disco action – is called “In Search of Yang,” and begs a question about the meaning of the group’s name. The group’s drummer and co-founder, Kees Berkers, explains: “Yin Yang is about balance between two different forces and Yin Yin would essentially mean two negative forces that cannot reach a common ground. So, YIN YIN is about finding a balance in the unbalanced.”
Certainly, over the last six years, the quartet from Maastricht in the south of the Netherlands has built a reputation for balancing an eclectic range of influences and using them to forge something that is affectionately retro and, at the same time, fresh and forward-facing.
The group’s origins lie in an experimental jam session in a remote village ballet school in 2017, leading to the release of the single, “Dion Ysiusk,” the following year. The debut album, The Rabbit That Hunts Tigers was released in 2019, followed by The Age of Aquarius in 2022. After a few personnel changes, the quartet’s line-up had, by 2023, arrived at its current form of Kees Berkers (drums), Remy Scheren (bass), Jerôme Scheren (keyboards) and Erik Bandt (guitar). 2024 saw the release of Mount Matsu, now followed by the group’s most complete statement to date, Yatta!
From the beginning, YIN YIN have been devoted to exploring global sounds with an emphasis on getting the dance floor moving – an impulse that reaches its peak on Yatta!
One major influence is the sound of Italo Disco – the spacey brand of disco music that arose in Italy in the late 1970s. “It has something of a mystique,’ says Berkers. “All the producers were using new recording techniques and effects, but there are not many pictures or videos of how they were creating things in the studio. You have to use your own fantasy and create your own story about how that music is created.” You can hear that sense of mystery on tracks like “In Search of Yang,” with its endless groove and trippy backwards guitar effects.
Across the album, YIN YIN specialise in creating the soundtracks to dream journeys, opportunities for the listener to visit places that exist in realms of the imagination.
“That’s a big reason why the music’s instrumental,” Berkers confirms. “It leaves a lot of room for the listener to fill in the gaps. You can really make your own trip of it. It’s very movie-like.” And it’s not just the movies we get to visit. “Kasumi’s Quest” is built around a mysteriously ascending and descending synth figure, coming come across like the music to a lost computer game – “an imaginary quest of an imaginary character in an imaginary world,” says Berkers. “It could be like a difficult quest in a dungeon, and Kasumi could be the character that you’re playing.”
If there’s a general direction of travel in YIN YIN’s expeditions, it’s towards the east, with Asian influences coming through loud and clear. “Lecker Song” feels like a 1960s Japanese soul-funk spy movie theme with a sample of a koto buried in the mix. “Yata Yata” could be the throbbing disco soundtrack to a Thai spaghetti western. “Night in Taipei” is an atmospheric ballad summoning a fragrant evening in the Taiwanese capital, and “Pattaya Wrangler” suggests a sundown stroll on the Thai city’s golden beaches.
It's a fascination that has suffused YIN YIN’s sound since, in the early days, they stumbled upon a couple of compilation albums of psychedelic 60s and 70s guitar music from Southeast Asia. “Those albums had the most influence on that East Asian route we took,” Berkers recalls. “Via those compilations, we got to YouTube channels where we couldn't read anything because everything was in Thai letters or in Chinese symbols – and that felt like we found the treasure!’”
Adopting Eastern tunings has imparted an unusual feel to YIN YIN’s music and challenged them as songwriters.
Berkers explains: “If you're making music for a long time you get to some points where you think ‘I'm always doing the same thing.’ And then a simple YouTube channel or a compilation can give you that spark you need!”
There’s no shortage of sparks in Yatta!’s blend of dancefloor fillers and laidback soundscapes. Guitarist Erik Bandt explains: “We tried to make a mix of songs that are very energetic, danceable party starters, but also have songs that take you on trips and are more easy.”
Underpinning all of this is a welcoming, natural feel, with everything recorded directly to tape.
“It’s our most organic album to date,” says Bandt. “We recorded together as a team in the studio instead of recording separate tracks for drums, guitar, bass – it’s all live and that adds a certain feel.”
All of which explains the album’s title. Bandt says: “Yatta is a Japanese phrase meaning ‘We did it, we accomplished it!’ After we finished the album, we thought this simple phrase actually ties it all together.” Berkers continues: “It also speaks for a more general idea that we, as a band, succeeded to really become a band on a professional level. So, it's also, ‘We finally are true musicians now. We have arrived.’ Basically, we made the dream come true.”
Yatta! Is the sound of four musicians finding their own globe-trotting groove, and having the time of their lives exploring it. Lucky for us, we’re invited too.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklist:
1.In Search of Yang
2.Spirit Adapter
3.Lecker Song
4.Yata Yata
5.Night in Taipei
6.Golden Lion
7.Elma
8.Kasumi's Quest
9.Slow Burner
10.Pattaya Wrangler
11.Mooncake Melody
On their fourth album Yatta!, the celebrated Dutch quartet YIN YIN extends, bends, and ignites a joyous mix of disco, funk, surf, psychedelia, and Southeast Asian motifs. UNCUT magazine previously dubbed their highly addictive sound “cosmic disco”—a fitting starting point—but as Yatta! proves, the band's sonic footprint is an ever-evolving kaleidoscope of sounds, textures, and beats.
As with their breakthrough album Mount Matsu (2024), their devotion to getting the dance floor moving remains front and center. That impulse, already strong, has intensified — Yatta! lifting it to an ecstatic next level.
The result? An album that reveals a band whose groove just keeps getting deeper.
---------------------------------
The opening track on YIN YIN’s new album, Yatta!, begins with a sample of the philosopher Alan Watts expounding: “There is no Yang without Yin and no Yin without Yang.”
Appropriately enough, the track – a jubilantly upbeat slice of disco action – is called “In Search of Yang,” and begs a question about the meaning of the group’s name. The group’s drummer and co-founder, Kees Berkers, explains: “Yin Yang is about balance between two different forces and Yin Yin would essentially mean two negative forces that cannot reach a common ground. So, YIN YIN is about finding a balance in the unbalanced.”
Certainly, over the last six years, the quartet from Maastricht in the south of the Netherlands has built a reputation for balancing an eclectic range of influences and using them to forge something that is affectionately retro and, at the same time, fresh and forward-facing.
The group’s origins lie in an experimental jam session in a remote village ballet school in 2017, leading to the release of the single, “Dion Ysiusk,” the following year. The debut album, The Rabbit That Hunts Tigers was released in 2019, followed by The Age of Aquarius in 2022. After a few personnel changes, the quartet’s line-up had, by 2023, arrived at its current form of Kees Berkers (drums), Remy Scheren (bass), Jerôme Scheren (keyboards) and Erik Bandt (guitar). 2024 saw the release of Mount Matsu, now followed by the group’s most complete statement to date, Yatta!
From the beginning, YIN YIN have been devoted to exploring global sounds with an emphasis on getting the dance floor moving – an impulse that reaches its peak on Yatta!
One major influence is the sound of Italo Disco – the spacey brand of disco music that arose in Italy in the late 1970s. “It has something of a mystique,’ says Berkers. “All the producers were using new recording techniques and effects, but there are not many pictures or videos of how they were creating things in the studio. You have to use your own fantasy and create your own story about how that music is created.” You can hear that sense of mystery on tracks like “In Search of Yang,” with its endless groove and trippy backwards guitar effects.
Across the album, YIN YIN specialise in creating the soundtracks to dream journeys, opportunities for the listener to visit places that exist in realms of the imagination.
“That’s a big reason why the music’s instrumental,” Berkers confirms. “It leaves a lot of room for the listener to fill in the gaps. You can really make your own trip of it. It’s very movie-like.” And it’s not just the movies we get to visit. “Kasumi’s Quest” is built around a mysteriously ascending and descending synth figure, coming come across like the music to a lost computer game – “an imaginary quest of an imaginary character in an imaginary world,” says Berkers. “It could be like a difficult quest in a dungeon, and Kasumi could be the character that you’re playing.”
If there’s a general direction of travel in YIN YIN’s expeditions, it’s towards the east, with Asian influences coming through loud and clear. “Lecker Song” feels like a 1960s Japanese soul-funk spy movie theme with a sample of a koto buried in the mix. “Yata Yata” could be the throbbing disco soundtrack to a Thai spaghetti western. “Night in Taipei” is an atmospheric ballad summoning a fragrant evening in the Taiwanese capital, and “Pattaya Wrangler” suggests a sundown stroll on the Thai city’s golden beaches.
It's a fascination that has suffused YIN YIN’s sound since, in the early days, they stumbled upon a couple of compilation albums of psychedelic 60s and 70s guitar music from Southeast Asia. “Those albums had the most influence on that East Asian route we took,” Berkers recalls. “Via those compilations, we got to YouTube channels where we couldn't read anything because everything was in Thai letters or in Chinese symbols – and that felt like we found the treasure!’”
Adopting Eastern tunings has imparted an unusual feel to YIN YIN’s music and challenged them as songwriters.
Berkers explains: “If you're making music for a long time you get to some points where you think ‘I'm always doing the same thing.’ And then a simple YouTube channel or a compilation can give you that spark you need!”
There’s no shortage of sparks in Yatta!’s blend of dancefloor fillers and laidback soundscapes. Guitarist Erik Bandt explains: “We tried to make a mix of songs that are very energetic, danceable party starters, but also have songs that take you on trips and are more easy.”
Underpinning all of this is a welcoming, natural feel, with everything recorded directly to tape.
“It’s our most organic album to date,” says Bandt. “We recorded together as a team in the studio instead of recording separate tracks for drums, guitar, bass – it’s all live and that adds a certain feel.”
All of which explains the album’s title. Bandt says: “Yatta is a Japanese phrase meaning ‘We did it, we accomplished it!’ After we finished the album, we thought this simple phrase actually ties it all together.” Berkers continues: “It also speaks for a more general idea that we, as a band, succeeded to really become a band on a professional level. So, it's also, ‘We finally are true musicians now. We have arrived.’ Basically, we made the dream come true.”
Yatta! Is the sound of four musicians finding their own globe-trotting groove, and having the time of their lives exploring it. Lucky for us, we’re invited too.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
A. Parker / W. Parrish - The Hawk
2
S. Haseley - The Happening
3
A. Parker / W. Parrish - Main Chance
4
S. Haseley - Hogan Baby
5
G. Grant - Dirty John Crown
6
A. Parker / W. Parrish - Swarf
7
R. Tilsley - Turnover
8
A. Parker / W. Parrish - Tarantula
9
S. Haseley - Precinct
10
S. Haseley - Sidewinder Version 1
11
A. Parker / W. Parrish - Pressure
12
A. Parker / W. Parrish - Call Me
13
G. Grant - Scorch
14
A. Parker / W. Parrish - Digger
15
R. Tilsley - Marianne
16
S. Haseley - Sidewinder Version 2
Territories: Worldwide no restrictions
Format Notes:
First time vinyl reissue of this incredible library record, as part of Be With Records's crucial Music De Wolfe reissue campaign. 140g vinyl. Limited to just 750 worldwide.
A1 A. Parker / W. Parrish The Hawk 2:56
A2 S. Haseley The Happening 2:14
A3 A. Parker / W. Parrish Main Chance 3:04
A4 S. Haseley Hogan Baby 3:39
A5 G. Grant Dirty John Crown 2:54
A6 A. Parker / W. Parrish Swarf 2:27
A7 R. Tilsley Turnover 2:29
A8 A. Parker / W. Parrish Tarantula 2:31
B1 S. Haseley Precinct 3:32
B2 S. Haseley Sidewinder Version 1 2:08
B3 A. Parker / W. Parrish Pressure 2:45
B4 A. Parker / W. Parrish Call Me 2:56
B5 G. Grant Scorch 2:10
B6 A. Parker / W. Parrish Digger 2:10
B7 R. Tilsley Marianne 4:08
B8 S. Haseley Sidewinder Version 2 1:55
Release Notes:
This is that absolute stank-face filth: hard, espionage drama-soul and tough, jazzy street-funk. Hogan, The Hawk & Dirty John Crown sounds like the soundtrack of a blaxploitation movie from the early 70s and, packed with funky fusion and smoother orchestral numbers, it is basically that.
Featuring a veritable who's who of killer library break snakes - Alan Parker, Alan Hawkshaw (under sneaky alias William Parrish), Simon Haseley, Reg Tilsley and Gordon Grant - it's not hard to see how this commands over £350 on secondary markets.
This beautifully presented reissue, part of Be With's fresh campaign with the legendary library label Music De Wolfe, is well overdue.
Recorded for De Wolfe in 1972, Hogan, The Hawk, Dirty John Crown is a fantastic start-to-finish listen. The flute-funk of Hawkshaw and Parker's opener "The Hawk" comprises driving, fuzzy, wah-wah-drizzled bell-laced breaks with synths and basslines to murder for. Up next, Haseley's "The Happening" is a carefree, rhythmic builder with strings and horns. Let's face it, it doesn't prepare us for the monster that follows...
Hawkshaw and Parker's amazing "Main Chance" is likely the reason you're here; it's a moody, beaty proto-hip-hop banger; all rolling drums and flute-laced, organ-drenched, synth-funk breaks. Just sensational - you'll want to play it again and again and again.
The cool AF "Hogan Baby" has a soft, rounded, bluesy feel - it's a lighter number and Haseley's work here sounds more than a little indebted to Burt Bacharach. It's melancholic, reflective and contains ace breaks with beautiful flutes and wistful horns. It's just gorgeous. Grant's pounding "Dirty John Crown" brilliantly conjures swirling string-swept serenity atop driving, incisive drama-funk breaks. Sublime. Hawkshaw and Parker come roaring back with the murky, creeping crime-funk of "Swarf" with killer basslines underpinning slow-mo high-class flute-funk.
Reg Tilsley enters the fray with the bright, snappy, carefree "Turnover". It's lightweight but still retains some nice orchestral movements. The brief “Tarantula” gets us back on track - from the pen and chops of Hawkshaw and Parker, are we surprised? - with the driving crime funk breaks, super clean yet brooding. Synths, sax and 'nuff guitars. YES.
Side 2 opens with the car chase swag of Haseley's dramatic, driving "Precinct". Jazzy, instrumental flute funk over great percussive breaks. We love this. Haseley's rolling "Sidewinder Version 1" is robust and exuberant with bouncy horns before a cracking Parker-Hawkshaw one-two featuring the tense "Pressure" and the deeply soulful "Call Me", a relaxed, medium-tempo organ feature. With building piano and strings Gordon Grant's excellently titled "Scorch" is as aggressive and dramatic as you'd hope. Hawkshaw and Parker's furtive flute-funk of "Digger" precede the light, melodic and romantic themes of Tilsley's "Marianne" whilst "Sidewinder Version 2", a faster iteration of Track B2 sees Haseley close out this remarkable set in bouncy, bright fashion.
The audio for Hogan, The Hawk, Dirty John Crown has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Format Notes:
First time vinyl reissue of this incredible library record, as part of Be With Records's crucial Music De Wolfe reissue campaign. 140g vinyl. Limited to just 750 worldwide.
A1 A. Parker / W. Parrish The Hawk 2:56
A2 S. Haseley The Happening 2:14
A3 A. Parker / W. Parrish Main Chance 3:04
A4 S. Haseley Hogan Baby 3:39
A5 G. Grant Dirty John Crown 2:54
A6 A. Parker / W. Parrish Swarf 2:27
A7 R. Tilsley Turnover 2:29
A8 A. Parker / W. Parrish Tarantula 2:31
B1 S. Haseley Precinct 3:32
B2 S. Haseley Sidewinder Version 1 2:08
B3 A. Parker / W. Parrish Pressure 2:45
B4 A. Parker / W. Parrish Call Me 2:56
B5 G. Grant Scorch 2:10
B6 A. Parker / W. Parrish Digger 2:10
B7 R. Tilsley Marianne 4:08
B8 S. Haseley Sidewinder Version 2 1:55
Release Notes:
This is that absolute stank-face filth: hard, espionage drama-soul and tough, jazzy street-funk. Hogan, The Hawk & Dirty John Crown sounds like the soundtrack of a blaxploitation movie from the early 70s and, packed with funky fusion and smoother orchestral numbers, it is basically that.
Featuring a veritable who's who of killer library break snakes - Alan Parker, Alan Hawkshaw (under sneaky alias William Parrish), Simon Haseley, Reg Tilsley and Gordon Grant - it's not hard to see how this commands over £350 on secondary markets.
This beautifully presented reissue, part of Be With's fresh campaign with the legendary library label Music De Wolfe, is well overdue.
Recorded for De Wolfe in 1972, Hogan, The Hawk, Dirty John Crown is a fantastic start-to-finish listen. The flute-funk of Hawkshaw and Parker's opener "The Hawk" comprises driving, fuzzy, wah-wah-drizzled bell-laced breaks with synths and basslines to murder for. Up next, Haseley's "The Happening" is a carefree, rhythmic builder with strings and horns. Let's face it, it doesn't prepare us for the monster that follows...
Hawkshaw and Parker's amazing "Main Chance" is likely the reason you're here; it's a moody, beaty proto-hip-hop banger; all rolling drums and flute-laced, organ-drenched, synth-funk breaks. Just sensational - you'll want to play it again and again and again.
The cool AF "Hogan Baby" has a soft, rounded, bluesy feel - it's a lighter number and Haseley's work here sounds more than a little indebted to Burt Bacharach. It's melancholic, reflective and contains ace breaks with beautiful flutes and wistful horns. It's just gorgeous. Grant's pounding "Dirty John Crown" brilliantly conjures swirling string-swept serenity atop driving, incisive drama-funk breaks. Sublime. Hawkshaw and Parker come roaring back with the murky, creeping crime-funk of "Swarf" with killer basslines underpinning slow-mo high-class flute-funk.
Reg Tilsley enters the fray with the bright, snappy, carefree "Turnover". It's lightweight but still retains some nice orchestral movements. The brief “Tarantula” gets us back on track - from the pen and chops of Hawkshaw and Parker, are we surprised? - with the driving crime funk breaks, super clean yet brooding. Synths, sax and 'nuff guitars. YES.
Side 2 opens with the car chase swag of Haseley's dramatic, driving "Precinct". Jazzy, instrumental flute funk over great percussive breaks. We love this. Haseley's rolling "Sidewinder Version 1" is robust and exuberant with bouncy horns before a cracking Parker-Hawkshaw one-two featuring the tense "Pressure" and the deeply soulful "Call Me", a relaxed, medium-tempo organ feature. With building piano and strings Gordon Grant's excellently titled "Scorch" is as aggressive and dramatic as you'd hope. Hawkshaw and Parker's furtive flute-funk of "Digger" precede the light, melodic and romantic themes of Tilsley's "Marianne" whilst "Sidewinder Version 2", a faster iteration of Track B2 sees Haseley close out this remarkable set in bouncy, bright fashion.
The audio for Hogan, The Hawk, Dirty John Crown has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Enji - A1) Hungun
2
Enji - A2) Ulbar
3
Enji - A3) Ergelt
4
Enji - A4) Unadag Dugui
5
Enji - A5) Gerhol
6
Enji - A6) Eejiinhee Hairaar
7
Enji - B1) Zuirmegleh
8
Enji - B2) Much
9
Enji - B3) Neke
10
Enji - B4) Old Folks
11
Enji - B5) Bayar Tai
LP
Special remarks: 180g
Tracklist:
A1) Hungun 03:39 min
A2) Ulbar 04:01 min
A3) Ergelt 02:48 min
A4) Unadag Dugui 02:19 min
A5) Gerhol 04:03 min
A6) Eejiinhee Hairaar 03:30 min
B1) Zuirmegleh 03:25 min
B2) Much 03:02 min
B3) Neke 02:00 min
B4) Old Folks 08:39 min
B5) Bayar Tai 02:28 min
Info:
For a few fleeting moments during a sunset, the sky is cast a vivid shade of amber. A dramatic flare of colour, a moment belonging to both the day and the night. It is within this vibrant, ephemeral world, that Mongolian-born, Munich-based Enji has written her new album Sonor.
Sonor is a reflection of Enji's personal evolution and the complex emotions that accompany living between two worlds. The album's themes revolve around the unplaceable feeling of being between cultures, not as a source of conflict, but as a space for growth and self-discovery. Enji explores how distance from her traditional Mongolian roots has shaped her identity, and how returning home brings a heightened awareness of these changes. Backed by a band of renowned jazz musicians (Elias Stemeseder on piano, Robert Landfermann on bass, Julian Sartorius on drums and co-composer Paul Brändle on guitar), Enji isn't just revisiting tradition, she's distilling the feeling of home, of small joys that reveal their significance only when viewed from afar.
Like a familiar song hummed by a parent, her music captures the essence of belonging, not tied to a single place, but to the emotions and memories that shape us.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Special remarks: 180g
Tracklist:
A1) Hungun 03:39 min
A2) Ulbar 04:01 min
A3) Ergelt 02:48 min
A4) Unadag Dugui 02:19 min
A5) Gerhol 04:03 min
A6) Eejiinhee Hairaar 03:30 min
B1) Zuirmegleh 03:25 min
B2) Much 03:02 min
B3) Neke 02:00 min
B4) Old Folks 08:39 min
B5) Bayar Tai 02:28 min
Info:
For a few fleeting moments during a sunset, the sky is cast a vivid shade of amber. A dramatic flare of colour, a moment belonging to both the day and the night. It is within this vibrant, ephemeral world, that Mongolian-born, Munich-based Enji has written her new album Sonor.
Sonor is a reflection of Enji's personal evolution and the complex emotions that accompany living between two worlds. The album's themes revolve around the unplaceable feeling of being between cultures, not as a source of conflict, but as a space for growth and self-discovery. Enji explores how distance from her traditional Mongolian roots has shaped her identity, and how returning home brings a heightened awareness of these changes. Backed by a band of renowned jazz musicians (Elias Stemeseder on piano, Robert Landfermann on bass, Julian Sartorius on drums and co-composer Paul Brändle on guitar), Enji isn't just revisiting tradition, she's distilling the feeling of home, of small joys that reveal their significance only when viewed from afar.
Like a familiar song hummed by a parent, her music captures the essence of belonging, not tied to a single place, but to the emotions and memories that shape us.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Djrum - A Tune For Us
2
Djrum - Waxcap
3
Djrum - Unweaving
4
Djrum - L'Ancienne
5
Djrum - Hold
6
Djrum - Galaxy In Silence
7
Djrum - Reprise
8
Djrum - Three Foxes Chasing Each Other
9
Djrum - Let Me
10
Djrum - Out Of Dust
11
Djrum - Sycamore
We go through life. We shed our skins. We become ourselves.” This line from Patti Smith was going round and round Felix Manuel’s head as he gradually constructed Under Tangled Silence, his first album in six years and a record of a literal creative rebirth. Felix originally began it in earnest in 2020 Covid lockdown, but a catastrophic hard-drive meltdown destroyed almost all his work and sent him close to psychic collapse himself. However, ultimately this pushed him to rebuild from scratch and in so doing to confront and reassess every part of his musical and psychological processes. The result is utterly extraordinary. Felix was a child prodigy as an instrumentalist and his advanced musicality has always been prominent in his music, but here he has put himself front and centre as pianist, harpist and more. And this sense of exposure as a performer interweaves with an unflinching emotional openness too. Where sometimes electronic production as advanced as this can use intellect and techniques as shields from soul-baring, this is the sound of someone who can boldly say “I feel things, I cry all the time, and I'm not afraid to say it or show it in the music.” But this doesn’t mean there’s a move away from the soundsystems and dancefloors where Felix made his name as a uniquely innovative vinyl DJ. Even just in the opening track “A Tune for Us”, minimalist piano ripples and jazz drumming flow into the breaks of vintage jungle – and as the structure of the LP unfolds, a deep ambient meditation like “Hold” can sit very naturally in between the futurist dancehall of “L’Ancienne” and the high-definition acid house mind movie of “Galaxy in Silence”. In fact, as with the hands-on musicianship, that gutsy big-speaker electronic impact is delivered with more certainty, more expertise, more personal flourishes than ever. And all of those elements are more integrated than ever too: the sound of a total musical personality emerging afresh is truly something to behold. An already remarkable talent has been refreshed, reborn and is making the music of his life.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Cypress Hill - Insane In The Brain
2
Cypress Hill - Insane In The Brain (Instrumental)
Repress!
So much legendary hip-hop begins with a misunderstanding. You might not realise it on first or even hundredth listen, but ‘Insane in the Brain’ is a diss track. What has become one of the hip-hop’s most iconic party anthems, and one of Cypress Hill’s biggest hits, started out with them taking offence at Chubb Rock.
He’d flipped some of their lyrics on his own ‘Yabba Dabba Doo’ song in 1992 and the group didn’t like it. While B-Real’s lyrical attack on Chubb is subtle and almost subliminal, Sen Dog spends most of his verse making fat jokes at Chubb’s expense.
It’s a little known beef, hidden beneath the vast success of this single in 1993, with it reaching number one in the US rap charts and proving a pop hit worldwide too. At this stage, the group’s producer DJ Muggs had perfected an idiosyncratic sound all of his own, lending it to tracks for the likes of House of Pain and Funkdoobiest.
Here he melds samples from Sly and the Family Stone and The Youngbloods with a beat lifted from George Semper’s instrumental cover of ‘Get out my life, woman’. Those subtle songs are alchemised into a boot-stomping head-nodder that transcended hip-hop to become a festival favourite, a rise that ended in Ned Flanders delivering the line, “this may sound just a teensy bit insane in the old membrane, Homer,” in The Simpsons.
The only official 7” of this was released in the Philippines, and fetches prices in the hundreds of pounds – this reissue puts a hip-hop classic in crate-friendly form.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
So much legendary hip-hop begins with a misunderstanding. You might not realise it on first or even hundredth listen, but ‘Insane in the Brain’ is a diss track. What has become one of the hip-hop’s most iconic party anthems, and one of Cypress Hill’s biggest hits, started out with them taking offence at Chubb Rock.
He’d flipped some of their lyrics on his own ‘Yabba Dabba Doo’ song in 1992 and the group didn’t like it. While B-Real’s lyrical attack on Chubb is subtle and almost subliminal, Sen Dog spends most of his verse making fat jokes at Chubb’s expense.
It’s a little known beef, hidden beneath the vast success of this single in 1993, with it reaching number one in the US rap charts and proving a pop hit worldwide too. At this stage, the group’s producer DJ Muggs had perfected an idiosyncratic sound all of his own, lending it to tracks for the likes of House of Pain and Funkdoobiest.
Here he melds samples from Sly and the Family Stone and The Youngbloods with a beat lifted from George Semper’s instrumental cover of ‘Get out my life, woman’. Those subtle songs are alchemised into a boot-stomping head-nodder that transcended hip-hop to become a festival favourite, a rise that ended in Ned Flanders delivering the line, “this may sound just a teensy bit insane in the old membrane, Homer,” in The Simpsons.
The only official 7” of this was released in the Philippines, and fetches prices in the hundreds of pounds – this reissue puts a hip-hop classic in crate-friendly form.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Acid Jesus - MF 1
2
Acid Jesus - Move My Body
3
Acid Jesus - Faith In Acid
4
Acid Jesus - Disappear
5
Acid Jesus - H
6
Acid Jesus - MF 2
7
Acid Jesus - On The Couch
8
Acid Jesus - Mulunga
9
Acid Jesus - Odyssey
10
Acid Jesus - Fairchild
11
Acid Jesus - Razzblaster
12
Acid Jesus - Jesus
Triple vinyl LP presented for the first time, the legendary Klang Elektronik released debut CD / album from 1993, which was in it’s original form never released on vinyl before. It is collecting a string of tracks, written and produced by Acid Jesus, between December '92 and July ’93.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Peter Gordon / David Cunningham - Unlooped
2
Peter Gordon / David Cunningham - God
3
Peter Gordon / David Cunningham - Russians
4
Peter Gordon / David Cunningham - Provenance
5
Peter Gordon / David Cunningham - Eighth
6
Peter Gordon / David Cunningham - Out in the Yard
7
Peter Gordon / David Cunningham - From the Yard
8
Peter Gordon / David Cunningham - Citizen
9
Peter Gordon / David Cunningham - Sixth
10
Peter Gordon / David Cunningham - Are you a Fish?
11
Peter Gordon / David Cunningham - The Unpopular Statement
12
Peter Gordon / David Cunningham - The Little One
13
Peter Gordon / David Cunningham - Potomac
14
Peter Gordon / David Cunningham - Dark River
15
Peter Gordon / David Cunningham - The Non-Loop
16
Peter Gordon / David Cunningham - Seventh
17
Peter Gordon / David Cunningham - Austria
As trans-Atlantic alchemists pulling from a shared dialectic that somehow encompassed both postmodern deconstructionist tendencies and a delightfully subversive sense of poptimism, it’s easy to see how David Cunningham and Peter Gordon immediately hit it off upon initially meeting each other back in the late-1970s at the height of their youthful transgressions. Having initially worked together on the second Flying Lizards’ LP fourth wall, with its ingenious fusion of dismantled rhythms and rearranged melodies juxtaposed against the slyly sultry singing of Snatch’s Patti Palladin— with Gordon adding a few sprinkles of mischievous sax in the mix— it’s no wonder the collaboration would lead to further musical adventures.
Which leads us directly to the genesis of The Yellow Box. Embarking on a collaborative exercise in the structural repurposing of music as untethered puzzle pieces in need of rearrangement with no predetermined outcomes, the duo gave birth to a project that would see them move through both time and recording studios across Europe, taking nearly two years from 1981-1983 to complete. Enlisting the great Anton Fier on drums from The Feelies/Lounge Lizards nexus and John Greaves on bass from Henry Cow/Soft Heap lore to round out their dueling creative counterparts, the album would be something of a lost treasure until its eventual release on Cunningham’s Piano imprint in 1996.
Cinematic in scope, and filled with drifting drones, beautiful counter-melodies, eery minimalism, Kraftwerkian synthesizers, looped voices, skronky interludes, and other shifting undercurrents of sound, it was an album that utilized both a diverse array of expressive languages, as well as early sampling techniques and prepared instruments, well before most people were thinking in such expansive, integrated terms at the dawn of the 80’s. But such is life at the vanguard of new music. And one of the reasons that it likely sat on the shelf for so long before finally being released well over a decade later. Like a sparser, less groove-oriented version of My Life in the Bush of Ghosts, or a more radical take on the experimental work of Can’s Holger Czukay, The Yellow Box stands at the crossroads of time and technology, fusing multiple strands of musical thought and compositional techniques into a disjointed whole that somehow still comes off as a conceptually complete record.
Now, here it is again, over 40 years later, with perhaps even more historical resonance than it had before, remade and remodeled just waiting to be rediscovered again.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Which leads us directly to the genesis of The Yellow Box. Embarking on a collaborative exercise in the structural repurposing of music as untethered puzzle pieces in need of rearrangement with no predetermined outcomes, the duo gave birth to a project that would see them move through both time and recording studios across Europe, taking nearly two years from 1981-1983 to complete. Enlisting the great Anton Fier on drums from The Feelies/Lounge Lizards nexus and John Greaves on bass from Henry Cow/Soft Heap lore to round out their dueling creative counterparts, the album would be something of a lost treasure until its eventual release on Cunningham’s Piano imprint in 1996.
Cinematic in scope, and filled with drifting drones, beautiful counter-melodies, eery minimalism, Kraftwerkian synthesizers, looped voices, skronky interludes, and other shifting undercurrents of sound, it was an album that utilized both a diverse array of expressive languages, as well as early sampling techniques and prepared instruments, well before most people were thinking in such expansive, integrated terms at the dawn of the 80’s. But such is life at the vanguard of new music. And one of the reasons that it likely sat on the shelf for so long before finally being released well over a decade later. Like a sparser, less groove-oriented version of My Life in the Bush of Ghosts, or a more radical take on the experimental work of Can’s Holger Czukay, The Yellow Box stands at the crossroads of time and technology, fusing multiple strands of musical thought and compositional techniques into a disjointed whole that somehow still comes off as a conceptually complete record.
Now, here it is again, over 40 years later, with perhaps even more historical resonance than it had before, remade and remodeled just waiting to be rediscovered again.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Special remarks: 180g, Clear Red Vinyl, Limited
Tracklist:
A1) Zuud 04:33 min
A2) Taivshral 03:07 min
A3) Duulnaa 03:02 min
A4) Temeen Deerees Naran Oirhon 03:42 min
A5) Vogl 04:20 min
B1) Ulaan 03:30 min
B2) Libelle 02:38 min
B3) Picture / Three Shadows 05:21 min
B4) Encanto 01:33 min
B5) Uzegdel 04:25 min
Info:
After the success of 2021’s Ursgal, Mongolian jazz singer Enji returns with her third album Ulaan. The line-up has grown in size with drummer Mariá Portugal and clarinettist Joana Queiroz from Brazil joining the band to create an invigorating blend of grounded Folk and brooding Jazz.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklist:
A1) Zuud 04:33 min
A2) Taivshral 03:07 min
A3) Duulnaa 03:02 min
A4) Temeen Deerees Naran Oirhon 03:42 min
A5) Vogl 04:20 min
B1) Ulaan 03:30 min
B2) Libelle 02:38 min
B3) Picture / Three Shadows 05:21 min
B4) Encanto 01:33 min
B5) Uzegdel 04:25 min
Info:
After the success of 2021’s Ursgal, Mongolian jazz singer Enji returns with her third album Ulaan. The line-up has grown in size with drummer Mariá Portugal and clarinettist Joana Queiroz from Brazil joining the band to create an invigorating blend of grounded Folk and brooding Jazz.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Label:Embassy One
Cat-No:771514
Release-Date:26.09.2025
Genre:Electronic, Electronica
Configuration:2LP Excl
Label:Embassy One
Cat-No:771514
Release-Date:26.09.2025
Genre:Electronic, Electronica
Configuration:2LP Excl
1
Monolink - Powerful Play
2
Monolink - Avalanche
3
Monolink - In My Place
4
Monolink - Mesmerized
WORLD EXCLUDING GERMANY, SWITZERLAND, AUSTRIA (GSA)
- Black Vinyl
Special marks: Gatefold 2LP ( 2x 180g black) + Download code
GENRE/S: Electronica/Indie Dance
TRACKLISTS:
A1 Call of the Void
A2 Perfect World
B1 Powerful Play
B2 Avalanche
B3 In My Place
C1 Mesmerized
C2 Promised Land
D1 Beacon
D2 Phoenix
D3 Once I Understood
SHORT INFO:
The creative visionary behind a remarkable catalogue of widely celebrated releases and two critically acclaimed albums, Monolink returns this fall with his most thought-provoking and introspective project to date. Titled The Beauty Of It All, the multi-faceted German artist's third studio album is slated for worldwide release on September 26, 2025.
Marking a bold new chapter in Monolink's artistic evolution, The Beauty Of It All will dive deep into themes of beauty, impermanence and human connection, blending his signature fusion of live instrumentation, soulful song-writing and electronic innovation. The announcement arrives on the heels of two standout singles already this year - "Mesmerized" (January) and "Powerful Play" (March) - both of which will feature on the new album. With The Beauty Of It All, he builds on the foundations laid by his first two long players, pushing his sound into new, uncharted territory while staying rooted in the organic, humanistic qualities that have defined his career. The album is poised to be his most revealing and boundary-defying release yet; a sonic statement from an artist who continues to redefine what it means to be a modern musician.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
- Black Vinyl
Special marks: Gatefold 2LP ( 2x 180g black) + Download code
GENRE/S: Electronica/Indie Dance
TRACKLISTS:
A1 Call of the Void
A2 Perfect World
B1 Powerful Play
B2 Avalanche
B3 In My Place
C1 Mesmerized
C2 Promised Land
D1 Beacon
D2 Phoenix
D3 Once I Understood
SHORT INFO:
The creative visionary behind a remarkable catalogue of widely celebrated releases and two critically acclaimed albums, Monolink returns this fall with his most thought-provoking and introspective project to date. Titled The Beauty Of It All, the multi-faceted German artist's third studio album is slated for worldwide release on September 26, 2025.
Marking a bold new chapter in Monolink's artistic evolution, The Beauty Of It All will dive deep into themes of beauty, impermanence and human connection, blending his signature fusion of live instrumentation, soulful song-writing and electronic innovation. The announcement arrives on the heels of two standout singles already this year - "Mesmerized" (January) and "Powerful Play" (March) - both of which will feature on the new album. With The Beauty Of It All, he builds on the foundations laid by his first two long players, pushing his sound into new, uncharted territory while staying rooted in the organic, humanistic qualities that have defined his career. The album is poised to be his most revealing and boundary-defying release yet; a sonic statement from an artist who continues to redefine what it means to be a modern musician.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Enji - A1. Zavkhan
2
Enji - A2. Diary of June 9th
3
Enji - A3. Gandii Mod
4
Enji - A4. I'm Glad There Is You
5
Enji - A5. Khorom
6
Enji - B1. Sevkhet Bor
7
Enji - B2. Ursgal
8
Enji - B3. Aya
9
Enji - B4. An Untitled Hil
LP Vinyl
Tracklist:
A1) Zavkhan 03:28 min
A2) Diary of June 9th 02:30 min
A3) Gandii Mod 03:45 min
A4) I'm Glad There Is You 03:46 min
A5) Khorom 05:03 min
B1) Sevkhet Bor 04:40 min
B2) Ursgal 05:56 min
B3) Aya 03:13 min
B4) An Untitled Hil 04:54 min
Info:
On her second album Ursgal Mongolian singer Enji creates a unique blend of Jazz and Folk with the thousand-year-old traditions of Mongolian music. Currently based in Munich, her lyrics tell personal stories about unbearable distances, the oddness of being on earth and the simple truths in life.
She's accompanied by Paul Brändle on guitar and Munguntovch Tsolmonbayar on double bass.
Born in Ulaanbaatar, Enji grew up in a yurt to a working-class family. Having always been drawn to music, dance and literature, she initially wanted to become a music teacher with little ambitions to compose or be on stage. A program by the local Goethe Institute sparked her passion for Jazz and eventually led her to become a performing artist. Inspired by the music of Carmen McRae, Ella Fitzgerald and Nancy Wilson, Enji started writing songs of her own, cherishing this newfound means of expression. Ursgal is the first record featuring her original compositions.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklist:
A1) Zavkhan 03:28 min
A2) Diary of June 9th 02:30 min
A3) Gandii Mod 03:45 min
A4) I'm Glad There Is You 03:46 min
A5) Khorom 05:03 min
B1) Sevkhet Bor 04:40 min
B2) Ursgal 05:56 min
B3) Aya 03:13 min
B4) An Untitled Hil 04:54 min
Info:
On her second album Ursgal Mongolian singer Enji creates a unique blend of Jazz and Folk with the thousand-year-old traditions of Mongolian music. Currently based in Munich, her lyrics tell personal stories about unbearable distances, the oddness of being on earth and the simple truths in life.
She's accompanied by Paul Brändle on guitar and Munguntovch Tsolmonbayar on double bass.
Born in Ulaanbaatar, Enji grew up in a yurt to a working-class family. Having always been drawn to music, dance and literature, she initially wanted to become a music teacher with little ambitions to compose or be on stage. A program by the local Goethe Institute sparked her passion for Jazz and eventually led her to become a performing artist. Inspired by the music of Carmen McRae, Ella Fitzgerald and Nancy Wilson, Enji started writing songs of her own, cherishing this newfound means of expression. Ursgal is the first record featuring her original compositions.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
VINYL REPRESS
01 Alap 02 Two Thousand and Seventeen 03 LA Trance 04 Tremper 05 Lush 06 Scientists
07 Falls 2 08 You Are Loved 09 SW9 9SL 10 10 Midi 11 Memories 12 Daughter 13 Gentle Soul
14 Planet
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
01 Alap 02 Two Thousand and Seventeen 03 LA Trance 04 Tremper 05 Lush 06 Scientists
07 Falls 2 08 You Are Loved 09 SW9 9SL 10 10 Midi 11 Memories 12 Daughter 13 Gentle Soul
14 Planet
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More