Label:burial mix
Cat-No:BMLP3
Release-Date:17.02.2023
Genre:Dub/Reggae
Configuration:LP
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Label:burial mix
Cat-No:BMLP3
Release-Date:17.02.2023
Genre:Dub/Reggae
Configuration:LP
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1
Rhythm & Sound - King Version
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2
Rhythm & Sound - Queen Version
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3
Rhythm & Sound - Jah Version
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Rhythm & Sound - Toddin Version
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Rhythm & Sound - Mash Down Version
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Rhythm & Sound - Hit You Version
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Rhythm & Sound - Friend Version
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Rhythm & Sound - History Version
Repress!
collection of all the instrumental versions of BMD-2. An essential dub album!
Tracklist:
01. King Version
02. Queen Version
03. Jah Version
04. Troddin Version
05. Mash Down Version
06. Hit You Version
07. Friend Version
08. History Version
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
collection of all the instrumental versions of BMD-2. An essential dub album!
Tracklist:
01. King Version
02. Queen Version
03. Jah Version
04. Troddin Version
05. Mash Down Version
06. Hit You Version
07. Friend Version
08. History Version
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
More records from Rhythm & Sound
Label:Burial Mix
Cat-No:BMLP2
Release-Date:17.02.2023
Genre:House
Configuration:LP
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Label:Burial Mix
Cat-No:BMLP2
Release-Date:17.02.2023
Genre:House
Configuration:LP
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collection of all the instrumental versions of BMD-2. An essential dub album!
Tracklist
01. Cornel Campbell - King In My Empire
02. Jennifer Lara - Queen In My Empire
03. Paul St. Hilaire - Jah Rule
04. Shalom - We Been Troddin
05. The Chosen Brothers - Mash Down Babylon
06. Jah Batta - Music Hit You
07. Love Joy - Best Friend
08. The Chosen Brothers - Making History
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Tracklist
01. Cornel Campbell - King In My Empire
02. Jennifer Lara - Queen In My Empire
03. Paul St. Hilaire - Jah Rule
04. Shalom - We Been Troddin
05. The Chosen Brothers - Mash Down Babylon
06. Jah Batta - Music Hit You
07. Love Joy - Best Friend
08. The Chosen Brothers - Making History
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Rhythm & Sound
Cat-No:RS-03
Release-Date:16.06.2021
Genre:Dub/Reggae
Configuration:12"
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Label:Rhythm & Sound
Cat-No:RS-03
Release-Date:16.06.2021
Genre:Dub/Reggae
Configuration:12"
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Rhythm & Sound - Roll Off / S
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Rhythm & Sound - Roll Off / B
wonderful dubbed out Electronics
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Liebigstrasse 2-20
DE - 22113 Hamburg
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Label:Rhythm & Sound
Cat-No:RS-06
Release-Date:16.06.2021
Configuration:12"
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Label:Rhythm & Sound
Cat-No:RS-06
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Rhythm & Sound - Trace
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Rhythm & Sound - Imprint
Endlessly wide, heavy Ambient/Electronic sound textures
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Label:Rhythm & Sound
Cat-No:RS-05
Release-Date:16.06.2021
Genre:Techno
Configuration:12"
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Label:Rhythm & Sound
Cat-No:RS-05
Release-Date:16.06.2021
Genre:Techno
Configuration:12"
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1
Rhythm & Sound - Carrier
2
Rhythm & Sound - Density
3
Rhythm & Sound - Outward
Wonderful, pulsating Ambient Techno
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Liebigstrasse 2-20
DE - 22113 Hamburg
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Label:Rhythm & Sound
Cat-No:RS-07
Release-Date:16.06.2021
Genre:Techno
Configuration:12"
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Label:Rhythm & Sound
Cat-No:RS-07
Release-Date:16.06.2021
Genre:Techno
Configuration:12"
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1
Rhythm & Sound - Aground
2
Rhythm & Sound - Aerial
Unique Ambient Techno pulses
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Label:burial mix
Cat-No:bmlp4
Release-Date:30.08.2018
Genre:House
Configuration:LP
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Label:burial mix
Cat-No:bmlp4
Release-Date:30.08.2018
Genre:House
Configuration:LP
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vocal versions of See Mi Yah riddim w/ Sugar Minott, Willi Williams a.o.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Liebigstrasse 2-20
DE - 22113 Hamburg
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Label:burial mix
Cat-No:bmx4
Release-Date:09.12.2016
Genre:House
Configuration:12"
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Label:burial mix
Cat-No:bmx4
Release-Date:09.12.2016
Genre:House
Configuration:12"
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Volume four of Rhythm & Sound's remix archive delivers heavywieght techno/dub versions from Carl Craig and the Basic Channel crew.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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DE - 22113 Hamburg
Germany
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12"
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Label:burial mix
Cat-No:bmx2
Release-Date:09.12.2016
Genre:House
Configuration:12"
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Label:burial mix
Cat-No:bmx2
Release-Date:09.12.2016
Genre:House
Configuration:12"
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2nd in a series of remixes with a truly uplifting oldschool house take by Soundhack, Francois K in a Drum 'n' Bass style (!) and a heavy stepper version Substance
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Liebigstrasse 2-20
DE - 22113 Hamburg
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Label:burial mix
Cat-No:bmx1
Release-Date:09.12.2016
Genre:House
Configuration:12"
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Label:burial mix
Cat-No:bmx1
Release-Date:09.12.2016
Genre:House
Configuration:12"
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for the first in a series of remix 12"s for last years "See Me Yah" versions album.w/ rmxs by Villalobos, V. Delay & Tikiman
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Label:white
Cat-No:pk6
Release-Date:26.04.2010
Genre:Dub/Reggae
Configuration:10"
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Label:white
Cat-No:pk6
Release-Date:26.04.2010
Genre:Dub/Reggae
Configuration:10"
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At their chilliest, most magnificent and dreadful.
Brilliantly remastered, one-sided.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Brilliantly remastered, one-sided.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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More records from burial mix
Label:Burial Mix
Cat-No:BMLP2
Release-Date:17.02.2023
Genre:House
Configuration:LP
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Label:Burial Mix
Cat-No:BMLP2
Release-Date:17.02.2023
Genre:House
Configuration:LP
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collection of all the instrumental versions of BMD-2. An essential dub album!
Tracklist
01. Cornel Campbell - King In My Empire
02. Jennifer Lara - Queen In My Empire
03. Paul St. Hilaire - Jah Rule
04. Shalom - We Been Troddin
05. The Chosen Brothers - Mash Down Babylon
06. Jah Batta - Music Hit You
07. Love Joy - Best Friend
08. The Chosen Brothers - Making History
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Tracklist
01. Cornel Campbell - King In My Empire
02. Jennifer Lara - Queen In My Empire
03. Paul St. Hilaire - Jah Rule
04. Shalom - We Been Troddin
05. The Chosen Brothers - Mash Down Babylon
06. Jah Batta - Music Hit You
07. Love Joy - Best Friend
08. The Chosen Brothers - Making History
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:burial mix
Cat-No:bmlp4
Release-Date:30.08.2018
Genre:House
Configuration:LP
Barcode:
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Label:burial mix
Cat-No:bmlp4
Release-Date:30.08.2018
Genre:House
Configuration:LP
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vocal versions of See Mi Yah riddim w/ Sugar Minott, Willi Williams a.o.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Label:burial mix
Cat-No:bmx1
Release-Date:09.12.2016
Genre:House
Configuration:12"
Barcode:
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Label:burial mix
Cat-No:bmx1
Release-Date:09.12.2016
Genre:House
Configuration:12"
Barcode:
for the first in a series of remix 12"s for last years "See Me Yah" versions album.w/ rmxs by Villalobos, V. Delay & Tikiman
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
12"
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Label:burial mix
Cat-No:bmx2
Release-Date:09.12.2016
Genre:House
Configuration:12"
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Label:burial mix
Cat-No:bmx2
Release-Date:09.12.2016
Genre:House
Configuration:12"
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2nd in a series of remixes with a truly uplifting oldschool house take by Soundhack, Francois K in a Drum 'n' Bass style (!) and a heavy stepper version Substance
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Label:burial mix
Cat-No:bmx4
Release-Date:09.12.2016
Genre:House
Configuration:12"
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Label:burial mix
Cat-No:bmx4
Release-Date:09.12.2016
Genre:House
Configuration:12"
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Volume four of Rhythm & Sound's remix archive delivers heavywieght techno/dub versions from Carl Craig and the Basic Channel crew.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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Liebigstrasse 2-20
DE - 22113 Hamburg
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Label:Burial Mix
Cat-No:BMLP2
Release-Date:17.02.2023
Genre:House
Configuration:LP
Barcode:
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Label:Burial Mix
Cat-No:BMLP2
Release-Date:17.02.2023
Genre:House
Configuration:LP
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collection of all the instrumental versions of BMD-2. An essential dub album!
Tracklist
01. Cornel Campbell - King In My Empire
02. Jennifer Lara - Queen In My Empire
03. Paul St. Hilaire - Jah Rule
04. Shalom - We Been Troddin
05. The Chosen Brothers - Mash Down Babylon
06. Jah Batta - Music Hit You
07. Love Joy - Best Friend
08. The Chosen Brothers - Making History
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Tracklist
01. Cornel Campbell - King In My Empire
02. Jennifer Lara - Queen In My Empire
03. Paul St. Hilaire - Jah Rule
04. Shalom - We Been Troddin
05. The Chosen Brothers - Mash Down Babylon
06. Jah Batta - Music Hit You
07. Love Joy - Best Friend
08. The Chosen Brothers - Making History
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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1
Sven Wunder - Setting Off
2
Sven Wunder - Misty Shore
3
Sven Wunder - Take A Seat
4
Sven Wunder - Daybreak
5
Sven Wunder - Still Moorings
6
Sven Wunder - Scenic Byway
7
Sven Wunder - Leeward
8
Sven Wunder - Windward
9
Sven Wunder - Resting Place
10
Sven Wunder - Warmer Air
11
Sven Wunder - Deep Sea
12
Sven Wunder - Turning Tides
13
Sven Wunder - Liquid Mountains
At daybreak, as sunlight travels through the atmosphere and begins to reach Earth’s surface, daylight gradually emerges. This marks the transition from night to the beginning of a brand-new day. As the temperature rises—especially after clear, calm nights—relative humidity decreases, and mist, formed of tiny suspended droplets, begins to evaporate. Warm air rises and cool air sinks, creating an interplay of temperature, humidity and sunlight that gives way to a soft, diffuse glow. The sea breeze slowly clears the morning mist, setting life in motion once again as the world wakes up.
‘Daybreak’ is Sven Wunder’s fifth full-length album, seamlessly continuing the progression of his musical oeuvre. It takes the listener on a vivid maritime expedition, beginning the moment the first rays of light break the darkness of the night and embarking on a lush journey through the early hours of the day and far beyond, until the light slowly fades and night falls once again. True to Wunder’s now-distinctive artistry, ‘Daybreak’ is marked by elaborately crafted compositions and elegant pop-jazz arrangements for flute, percussion, brass and strings—supported by a decisive rhythm section, all of which add depth and build on his body of work, continuing to unfold his creative path.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
‘Daybreak’ is Sven Wunder’s fifth full-length album, seamlessly continuing the progression of his musical oeuvre. It takes the listener on a vivid maritime expedition, beginning the moment the first rays of light break the darkness of the night and embarking on a lush journey through the early hours of the day and far beyond, until the light slowly fades and night falls once again. True to Wunder’s now-distinctive artistry, ‘Daybreak’ is marked by elaborately crafted compositions and elegant pop-jazz arrangements for flute, percussion, brass and strings—supported by a decisive rhythm section, all of which add depth and build on his body of work, continuing to unfold his creative path.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Blue Crystal Records
Cat-No:BCRLP08
Release-Date:20.06.2025
Configuration:LP
Barcode:5050580844629
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Last in:08.07.2025
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Label:Blue Crystal Records
Cat-No:BCRLP08
Release-Date:20.06.2025
Configuration:LP
Barcode:5050580844629
1
Greg Foat & Forest Law - Imaginary Magnitude
2
Greg Foat & Forest Law - I Vibrate
3
Greg Foat & Forest Law - The Undertow
4
Greg Foat & Forest Law - The Dark Descends
5
Greg Foat & Forest Law - Waves of Bliss, Pt.1
6
Greg Foat & Forest Law - Waves of Bliss, Pt.2
7
Greg Foat & Forest Law - Midnight Wave, Pt.1
8
Greg Foat & Forest Law - Midnight Wave, Pt.2
9
Greg Foat & Forest Law - Fields of Ever Blue
Greg Foat and Forest Law (Brownwood, Bongo Joe)collaborate on an epic concept album about Life, Death, painting and Surfing. Inspired by the art and life of a local Isle of Wight artist and surfing legend Dave Gray. The album philosophically chronicles the many aspects of surfing and surf communities. This is the first album by Greg Foat to feature vocals throughout. Forest Law's lyrics are evocative and ethereal. Reminiscent of David Sylvian and Early Peter Gabriel. The Album features Moses Boyd - drums, Idris Rahman - Tenor Saxophone, Tom Herbert - Bass, Greg Foat - Grand Piano, Fender Rhodes and Synthesisers, Forest Law - Vocals
1000 Limited Edition Vinyl LPs
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1000 Limited Edition Vinyl LPs
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
LP Excl
in stock
Label:WRWTFWW
Cat-No:wrwtfww017
Release-Date:12.04.2024
Genre:Soundtracks
Configuration:LP Excl
Barcode:7640153366719
in stock
Last in:03.04.2025
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in stock
Last in:03.04.2025
Label:WRWTFWW
Cat-No:wrwtfww017
Release-Date:12.04.2024
Genre:Soundtracks
Configuration:LP Excl
Barcode:7640153366719
1
Kenji Kawai - 01 - Making of Cyborg
2
Kenji Kawai - 02 - Ghost Hacker
3
Kenji Kawai - 03 - Puppet Master
4
Kenji Kawai - 04 - Virtual Crime
5
Kenji Kawai - 05 - Ghost City
6
Kenji Kawai - 06 - Access
7
Kenji Kawai - 07 - Night Stalker
8
Kenji Kawai - 08 - Floating Museum
9
Kenji Kawai - 09 - Ghost Dive
10
Kenji Kawai - 10 - Reincarnation
11
Kenji Kawai - 11 - Bonus Track
2024 Repress
- NO SALES TO JAPAN -
Regular Offcial Authorised Vinyl Version, Original Soundtrack, 350g Sleeve, Black Inner, Sticker, 12" 140g Vinyl
- The first ever OFFICIAL vinyl release of the soundtrack for Mamoru Oshii's legendary science fiction anime film GHOST IN THE SHELL (1995).
- LP cut from the original master reels at Emil Berliner Studios, official Ghost in the Shell artwork
Tracklisting LP :
A1 ?I - Making Of Cyborg
A2 Ghosthack
A3 Puppetmaster
A4 Virtual Crime
A5 ?II - Ghost City
B1 Access
B2 Nightstalker
B3 Floating Museum
B4 Ghostdive
B5 ?III - Reincarnation
We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name.
Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7" housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes.
The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers, alongside Joe Hisaishi and Ry?ichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film's musings on the nature of humanity in a technologically advanced world.
Ghost in the Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron (Avatar), the Wachowskis (The Matrix), and Steven Spielberg (AI: Artificial Intelligence).
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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- NO SALES TO JAPAN -
Regular Offcial Authorised Vinyl Version, Original Soundtrack, 350g Sleeve, Black Inner, Sticker, 12" 140g Vinyl
- The first ever OFFICIAL vinyl release of the soundtrack for Mamoru Oshii's legendary science fiction anime film GHOST IN THE SHELL (1995).
- LP cut from the original master reels at Emil Berliner Studios, official Ghost in the Shell artwork
Tracklisting LP :
A1 ?I - Making Of Cyborg
A2 Ghosthack
A3 Puppetmaster
A4 Virtual Crime
A5 ?II - Ghost City
B1 Access
B2 Nightstalker
B3 Floating Museum
B4 Ghostdive
B5 ?III - Reincarnation
We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name.
Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7" housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes.
The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers, alongside Joe Hisaishi and Ry?ichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film's musings on the nature of humanity in a technologically advanced world.
Ghost in the Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron (Avatar), the Wachowskis (The Matrix), and Steven Spielberg (AI: Artificial Intelligence).
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Jazzybelle
Cat-No:JB2
Release-Date:28.03.2025
Genre:World Music
Configuration:LP
Barcode:3700604767527
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1
Hyldon - Vadiagem
2
Hyldon - Sabor De Amor
3
Hyldon - A Última Balada
4
Hyldon - Leva-La-Ei (Like A Bird Flying)
5
Hyldon - Renascimento
6
Hyldon - Siga O Teu Caminho
7
Hyldon - Cubana
8
Hyldon - São Conrado
9
Hyldon - Amor, Rise E Lágrimas
10
Hyldon - Amor Na Terra Do Berimbau
11
Hyldon - Vem Dancar O Samba
12
Hyldon - Viveiro De Pássaros
Sabor de Amor is the fourth album from Brazilian soulman Hyldon, singer and instrumentalist, who formed, alongside Tim Maia and Cassiano, the legendary triad of Brazilian soul music in the 1970s. Sabor de Amor (Continental, 1981) is perhaps his most consistent work. On it, Hyldon is back once again by his trusted buddies Azymuth with a stellar lineup of musicians, including Alexandre Malheiros (bass), Ivan "Mamao" Conti (drums), Sérgio Carvalho (Hammond organ and Fender piano), Zé Roberto Bertrami (synthesizers), Antonio Adolfo (Yamaha piano), Marcio Montarroyos (flugelhorn), Renato Piau (guitar), Mario Monteiro "Picolé" (drums) and the Grupo Alma Brasileira (percussion).
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Germany
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Label:Forever Living Originals
Cat-No:FLO0002LP
Release-Date:11.11.2024
Genre:Soul/Funk
Configuration:LP
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Cat-No:FLO0002LP
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Genre:Soul/Funk
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LP Excl
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Cat-No:ERE938
Release-Date:10.11.2023
Genre:HipHop / Beats
Configuration:LP Excl
Barcode:197342113410
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2xLP, Gatefold Jacket, Black Vinyl
The Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop's smoothest figures.
Key Marketing/Selling:
- Larry June & The Alchemist are each extremely respected and notable individual artists in the Hip-Hop community
- Album activations in LA, SF, CDMX and NY during release week, with multiple exclusive merch drops planned alongside each release
- The Alchemist routinely sells out of physical product on each drop - CD/CS/LP
- Larry June's previous releases, Orange Print & Spaceships On The Blade, have done exceptionally well at retail
- The Alchemist has put together some of the most sought after physical releases over the last 3+ years
- All production is handled by The Alchemist, with additional production on Track 6 by frequent Griselda collaborator, Beat Butcha
- Features include notable rap luminaries Action Bronson, Big Sean, Slum Village, Ty Dolla $ign, Boldly James, Evidence, Wiz Khalifa, Jay Worthy, Joey Bada$$, & Curren$y
- Extensive press write ups published throughout album rollout such as Rolling Stone, HipHopDX, Billboard, Okayplayer, The Source, BrooklynVegan, Yahoo, Vibe
- Extensive outdoor campaign with multiple billboards secured from all major DSPs
- Each single has been featured and placed on numerous playlists and obtained multiple playlist covers across all DSPs
- Multiple videos released with more on the way
- "Making of" Documentary released in support of album rollout
- 89 Earthquake has over 2.3M streams on Spotify alone since release on 3/1/23 (3/29/23)
- 47 date nationwide tour planned in support of the album, with multiple dates already sold out and additional shows already added. European dates are expected to follow shortly
- Larry June has over 3.3M monthly listeners on Spotify
- The Alchemist has over 6.8M monthly listeners on Spotify
Tracklist:
A1/1. Turkish Cotton
A2/2. 89 Earthquake
A3/3. Solid Plan (feat. Action Bronson)
A4/4. Palisades, CA (feat.Big Sean)
B1/5. Summer Reign (feat. Ty Dolla $ign)
B2/6. Orange Village (feat. Slum Village)
B3/7. Porsches in Spanish
B4/8. Art Talk (feat. Boldy James)
C1/9. Ocean Sounds
C2/10. Left No Evidence (feat. Evidence)
C3/11. What Happened To The World? (feat. Wiz Khalifa)
C4/12. Éxito (feat. Jay Worthy)
D1/13. 60 Days
D2/14. Barragán Lighting (feat. Joey Bada$$ & Curren$y)
D3/15. Margie's Candy House
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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The Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop's smoothest figures.
Key Marketing/Selling:
- Larry June & The Alchemist are each extremely respected and notable individual artists in the Hip-Hop community
- Album activations in LA, SF, CDMX and NY during release week, with multiple exclusive merch drops planned alongside each release
- The Alchemist routinely sells out of physical product on each drop - CD/CS/LP
- Larry June's previous releases, Orange Print & Spaceships On The Blade, have done exceptionally well at retail
- The Alchemist has put together some of the most sought after physical releases over the last 3+ years
- All production is handled by The Alchemist, with additional production on Track 6 by frequent Griselda collaborator, Beat Butcha
- Features include notable rap luminaries Action Bronson, Big Sean, Slum Village, Ty Dolla $ign, Boldly James, Evidence, Wiz Khalifa, Jay Worthy, Joey Bada$$, & Curren$y
- Extensive press write ups published throughout album rollout such as Rolling Stone, HipHopDX, Billboard, Okayplayer, The Source, BrooklynVegan, Yahoo, Vibe
- Extensive outdoor campaign with multiple billboards secured from all major DSPs
- Each single has been featured and placed on numerous playlists and obtained multiple playlist covers across all DSPs
- Multiple videos released with more on the way
- "Making of" Documentary released in support of album rollout
- 89 Earthquake has over 2.3M streams on Spotify alone since release on 3/1/23 (3/29/23)
- 47 date nationwide tour planned in support of the album, with multiple dates already sold out and additional shows already added. European dates are expected to follow shortly
- Larry June has over 3.3M monthly listeners on Spotify
- The Alchemist has over 6.8M monthly listeners on Spotify
Tracklist:
A1/1. Turkish Cotton
A2/2. 89 Earthquake
A3/3. Solid Plan (feat. Action Bronson)
A4/4. Palisades, CA (feat.Big Sean)
B1/5. Summer Reign (feat. Ty Dolla $ign)
B2/6. Orange Village (feat. Slum Village)
B3/7. Porsches in Spanish
B4/8. Art Talk (feat. Boldy James)
C1/9. Ocean Sounds
C2/10. Left No Evidence (feat. Evidence)
C3/11. What Happened To The World? (feat. Wiz Khalifa)
C4/12. Éxito (feat. Jay Worthy)
D1/13. 60 Days
D2/14. Barragán Lighting (feat. Joey Bada$$ & Curren$y)
D3/15. Margie's Candy House
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Liebigstrasse 2-20
DE - 22113 Hamburg
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Label:NG Records
Cat-No:NG01
Release-Date:23.04.2018
Configuration:LP
Barcode:
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Release-Date:23.04.2018
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1
nu guinea - No Title
2
nu guinea - No Title
3
nu guinea - No Title
4
nu guinea - No Title
5
nu guinea - No Title
6
nu guinea - No Title
7
nu guinea - No Title
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Liebigstrasse 2-20
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Label:Bedroom Suck Records
Cat-No:BSR106
Release-Date:19.05.2023
Configuration:LP
Barcode:644110505613
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Cat-No:BSR106
Release-Date:19.05.2023
Configuration:LP
Barcode:644110505613
1
Don Glori - Maiden Waters
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Don Glori - Ponte
3
Don Glori - Dlareme
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Don Glori - Cleanse
5
Don Glori - The Wire
6
Don Glori - Dinner Party
7
Don Glori - Headnoise
8
Don Glori - Commodore
Aptly titled, ‘Welcome’ is the debut album from Don Glori. A kaleidoscopic free dive into his world, featuring 8 recordings of revolving jazz, Brazilian, soul and funk inspired compositions spinning together and blurring into a genre bending slew of new music. There is an intangible element of joy and connection sitting just outside the grasp of description or definition that can be felt throughout this album. Each song on this album captures the spirit and irrepressible energy that underpins the core of the Don Glori project. Imperfections are captured along with the moments of transcendence. Layers of vocal harmonies oscillate next to pulsating samba rhythms while spiritual overtones permeate throughout. Congas and percussion form a holy union with the drum kit, co-piloted by Don Glori’s own bass lines. Saxophones, horns and flutes flutter in between the musical canyons carved out by the piano and vibraphone. When you press all of these forces together you can start to feel the intangible; the intrinsic human elements existing in the creases. The sweat, excitement and willingness of each musician to dedicate their spirit and take risks on every track of this album. It’s clear from the outset that this is an expansive body of work, from the spiritual jazz opener ‘Maiden Waters’ to the bubbling street party that is ‘Dlareme’, and ending on the unashamedly seductive ‘Commodore’. This is the kind of record that will translate equally well to both the dance floor and the lounge room rug.
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Liebigstrasse 2-20
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Liebigstrasse 2-20
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Label:Dead Oceans
Cat-No:DOCLP357
Release-Date:05.04.2024
Genre:Indie Rock/Alternative
Configuration:LP
Barcode:0656605165714
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Label:Dead Oceans
Cat-No:DOCLP357
Release-Date:05.04.2024
Genre:Indie Rock/Alternative
Configuration:LP
Barcode:0656605165714
“‘A La Sala,’ I used to scream it around my house when I was a little girl, to get everybody in the living room; to get my family together. That’s kind of what recording the new album felt like. Emotionally there was a desire to get back to square-one between the three of us, to where we came from–in sonics and in feeling. Let’s get back there.” - Laura Lee Ochoa
The title makes it clear. A La Sala (“To the Room” in Spanish), the fourth studio album by Khruangbin, is an exercise in returning in order to go further, and do so on your own terms. It extends the air of mystery and sanctity that’s key to how bassist Laura Lee Ochoa, drummer Donald “DJ” Johnson, Jr. and guitarist Mark “Marko” Speer approach music. Yet if 2020’s Mordechai, the last studio album Khruangbin made without collaborators, was a party record whose ensuing post-lockdown tour enhanced the band’s musical reputation far and wide, A La Sala is the measured morning after. It’s a gorgeously airy album made only in the company of the group’s longtime engineer Steve Christensen, with minimal overdubs. It is a porthole onto the bounties powering Khruangbin’s vision, a reimagining and refueling for the long haul ahead. A La Sala scales Khruangbin down to scale up, a creative strategy with the future in mind.
It is also a response to the unique moment Khruangbin finds itself in now: following a decade spent cultivating extraordinary music paths, beginning a year when they'll perform for more people, in more iconic spaces, staging a live show that pushes a creative envelope peculiar to them alone. (Look for the band at major festivals and venues near you.) 2024 feels like both marker and pivot, cementing Khruangbin’s stature as a commercially and critically successful group that continues to be guided by creative possibilities.
Such crossroads are familiar for iconic artists throughout the rock era — your Dylans, Stevies and Bowies, up thru turn-of-the-century Radiohead, all have navigated these straits. On A La Sala, Khruangbin also pulls exploration inward, spurning the din of the crowd’s expectations, mapping a personal direction home. The trio’s collective musical DNA and the years spent constructing it in Houston’s local-meets-global cultural stew ensure the band carries on sounding like no one but itself. A La Sala may in fact be Khruangbin’s purest distillation. A cascade of crisp melodies still emanates from Marko’s reverb-heavy electric, dancing gently around Laura Lee’s minimalist almost-dub bass triangles, while DJ’s drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place.
Where prior album-by-album growth seemed to point the narratives towards music’s polyglot edges, such inquiries now sound like known intimacies. What once seemed like sonic invocations — spaghetti-western film scores, found-sounds, dancing moments more living room than rooftop disco — are ingrained characteristics. This is who they are! And there’s a freshness to the instrumental interactivity on A La Sala that’s less concerned with getting further out than going deeper in. That depth is not about therapeutic self-reflection, but a profound desire to celebrate the world’s external wonders.
A La Sala invites intimate intercontinental partying. The first single is, after all, called “A Love International.” “Pon Pón” holds the band’s table at the West African discotheque; yet the joy now moves to the corner left of the dancefloor, where the back-and-forth between Laura Lee’s bass, DJ’s hi-hat, and Marko’s tuneful rhythm scratches, is a marvel of knowing head-nods. There’s “Hold Me Up (Thank You),” a familial sweetness in its spare lyrics, feeding off the rhythm section’s sturdy funk shuffle, and a chorus on which Marko’s guitar evokes both sides of the Atlantic in confident unshowy rhythms. They’re on “Todavía Viva” too, next to DJ’s noir-soul rim-shots, synth strings and a pregnant pause that is Laura Lee’s favorite moment on the album, the mood kin to the band’s glorious live interpretations of G-funk fantasias. And the rocked-up miniature, “Juegos y Nubes,” demonstrates Khruangbin’s Houston-born superpower to culture-mix, a dancing mood less concerned with worldly glamor than communal grooving.
“I read something long ago, attributed to Miles Davis. He said, ‘When they play fast, you play slow. When they play slow, you play fast.’ And it's definitely how I've approached looking at music: Don't follow the trends. And if the trend is this, then do something else.” - Marko
From the get-go, Khruangbin’s journey has been emphatically its own: a sound and visual representation with few precedents, ignoring pop expectations, relying only on internal inspirations, and a multitude of visions. It’s a mindset of penetrating the self, connecting to the surrounding world, modeling your own life experiences. This ethos is threaded throughout A La Sala, audible in the album’s form and function. (It’s even visible in the vinyl version’s physical package, which will be released as a set of seven distinctive covers and color-sets — more on which in a sec.)
The building blocks for the album’s 12 songs were jigsaw pieces found in Khruangbin’s creative past. Having stockpiled ideas originally set down as off-the-cuff recordings (voice-memos made at sound-checks, on long voyages, as absentminded epiphanies), they began fitting those pieces together in the studio. Which parts were apt? Which could be massaged and stretched out? Which inspired new sections or rhythms or musical interactions? Once more, Khruangbin’s familial DNA kicked in. Layer-by-layer, the intimate work, rework and re-rework bore new fruit. They also brought back a strategy once foundational to their records: seeding an album with field recordings.
Some results fold directly into A La Sala’s down-home feel. “Three From Two” and “May Ninth” are wistful mid-tempo numbers, with guitar melodies that reside somewhere between Bakersfield and by-the-riverside, cues that, for all its borderless inclusivity, another core Khruangbin value is being steeped in American roots. And in the landscape that music comes from. Like all albums prior to Mordechai, Marko made sure environmental sounds — natural and man-made — appeared as textures. (At times philosophically: the group recorded while cricket chirps played in their headphones, presumably for terroir.) It’s how A La Sala achieves such interconnected set-and-setting-ness.
Other results are more metaphorical, especially in Khruangbin’s flirtation with ambient spaces. The dramatically beatless “Farolim de Felgueiras” and “Caja de la Sala” both feature only Marko’s unmistakable guitar dueting with Laura Lee’s Moog, lightly layered with sounds of shoes on stone steps, and cicadas in an open field. The closing “Les Petits Gris” more fully reduces and fleshes out the ambiance, with a piano and a simple single-note bass pattern, Marko’s plaintive spare guitar echoing the melody of a ballerina-turning music box. It feels an apt way of ending — as a passing of this particular moment, preparation for the next one, soon-come.
Even the seven different covers that adorn A La Sala’s various vinyl editions offer a throughline from the music into Khruangbin’s current frame. Designed by the band using Marko’s multitude of travelog photos, they are windows from the band’s living room onto a set of daydreams, scenes of impossible skies, external glances illuminating what is going on inside. These are also directly related to David Black’s images of DJ, Laura Lee and Marko which accompany A La Sala, and to Khruangbin’s live staging reinvention. It’s all about looking out and looking back, in order to better look ahead.
“All the little moments you capture. You don't see how impactful they are until you hear what eventually comes of them. A lot of those scraps end up being the thing — and you don't realize it until it's ‘The Thing.’” - DJ
credits
releases April 5, 2024
Produced by Mark Speer & Steve Christensen
Written, Arranged & Performed by Khruangbin
Art Direction: Tiny Frees
Mixing: Steve Christensen
Mastering: Chris Longwood
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The title makes it clear. A La Sala (“To the Room” in Spanish), the fourth studio album by Khruangbin, is an exercise in returning in order to go further, and do so on your own terms. It extends the air of mystery and sanctity that’s key to how bassist Laura Lee Ochoa, drummer Donald “DJ” Johnson, Jr. and guitarist Mark “Marko” Speer approach music. Yet if 2020’s Mordechai, the last studio album Khruangbin made without collaborators, was a party record whose ensuing post-lockdown tour enhanced the band’s musical reputation far and wide, A La Sala is the measured morning after. It’s a gorgeously airy album made only in the company of the group’s longtime engineer Steve Christensen, with minimal overdubs. It is a porthole onto the bounties powering Khruangbin’s vision, a reimagining and refueling for the long haul ahead. A La Sala scales Khruangbin down to scale up, a creative strategy with the future in mind.
It is also a response to the unique moment Khruangbin finds itself in now: following a decade spent cultivating extraordinary music paths, beginning a year when they'll perform for more people, in more iconic spaces, staging a live show that pushes a creative envelope peculiar to them alone. (Look for the band at major festivals and venues near you.) 2024 feels like both marker and pivot, cementing Khruangbin’s stature as a commercially and critically successful group that continues to be guided by creative possibilities.
Such crossroads are familiar for iconic artists throughout the rock era — your Dylans, Stevies and Bowies, up thru turn-of-the-century Radiohead, all have navigated these straits. On A La Sala, Khruangbin also pulls exploration inward, spurning the din of the crowd’s expectations, mapping a personal direction home. The trio’s collective musical DNA and the years spent constructing it in Houston’s local-meets-global cultural stew ensure the band carries on sounding like no one but itself. A La Sala may in fact be Khruangbin’s purest distillation. A cascade of crisp melodies still emanates from Marko’s reverb-heavy electric, dancing gently around Laura Lee’s minimalist almost-dub bass triangles, while DJ’s drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place.
Where prior album-by-album growth seemed to point the narratives towards music’s polyglot edges, such inquiries now sound like known intimacies. What once seemed like sonic invocations — spaghetti-western film scores, found-sounds, dancing moments more living room than rooftop disco — are ingrained characteristics. This is who they are! And there’s a freshness to the instrumental interactivity on A La Sala that’s less concerned with getting further out than going deeper in. That depth is not about therapeutic self-reflection, but a profound desire to celebrate the world’s external wonders.
A La Sala invites intimate intercontinental partying. The first single is, after all, called “A Love International.” “Pon Pón” holds the band’s table at the West African discotheque; yet the joy now moves to the corner left of the dancefloor, where the back-and-forth between Laura Lee’s bass, DJ’s hi-hat, and Marko’s tuneful rhythm scratches, is a marvel of knowing head-nods. There’s “Hold Me Up (Thank You),” a familial sweetness in its spare lyrics, feeding off the rhythm section’s sturdy funk shuffle, and a chorus on which Marko’s guitar evokes both sides of the Atlantic in confident unshowy rhythms. They’re on “Todavía Viva” too, next to DJ’s noir-soul rim-shots, synth strings and a pregnant pause that is Laura Lee’s favorite moment on the album, the mood kin to the band’s glorious live interpretations of G-funk fantasias. And the rocked-up miniature, “Juegos y Nubes,” demonstrates Khruangbin’s Houston-born superpower to culture-mix, a dancing mood less concerned with worldly glamor than communal grooving.
“I read something long ago, attributed to Miles Davis. He said, ‘When they play fast, you play slow. When they play slow, you play fast.’ And it's definitely how I've approached looking at music: Don't follow the trends. And if the trend is this, then do something else.” - Marko
From the get-go, Khruangbin’s journey has been emphatically its own: a sound and visual representation with few precedents, ignoring pop expectations, relying only on internal inspirations, and a multitude of visions. It’s a mindset of penetrating the self, connecting to the surrounding world, modeling your own life experiences. This ethos is threaded throughout A La Sala, audible in the album’s form and function. (It’s even visible in the vinyl version’s physical package, which will be released as a set of seven distinctive covers and color-sets — more on which in a sec.)
The building blocks for the album’s 12 songs were jigsaw pieces found in Khruangbin’s creative past. Having stockpiled ideas originally set down as off-the-cuff recordings (voice-memos made at sound-checks, on long voyages, as absentminded epiphanies), they began fitting those pieces together in the studio. Which parts were apt? Which could be massaged and stretched out? Which inspired new sections or rhythms or musical interactions? Once more, Khruangbin’s familial DNA kicked in. Layer-by-layer, the intimate work, rework and re-rework bore new fruit. They also brought back a strategy once foundational to their records: seeding an album with field recordings.
Some results fold directly into A La Sala’s down-home feel. “Three From Two” and “May Ninth” are wistful mid-tempo numbers, with guitar melodies that reside somewhere between Bakersfield and by-the-riverside, cues that, for all its borderless inclusivity, another core Khruangbin value is being steeped in American roots. And in the landscape that music comes from. Like all albums prior to Mordechai, Marko made sure environmental sounds — natural and man-made — appeared as textures. (At times philosophically: the group recorded while cricket chirps played in their headphones, presumably for terroir.) It’s how A La Sala achieves such interconnected set-and-setting-ness.
Other results are more metaphorical, especially in Khruangbin’s flirtation with ambient spaces. The dramatically beatless “Farolim de Felgueiras” and “Caja de la Sala” both feature only Marko’s unmistakable guitar dueting with Laura Lee’s Moog, lightly layered with sounds of shoes on stone steps, and cicadas in an open field. The closing “Les Petits Gris” more fully reduces and fleshes out the ambiance, with a piano and a simple single-note bass pattern, Marko’s plaintive spare guitar echoing the melody of a ballerina-turning music box. It feels an apt way of ending — as a passing of this particular moment, preparation for the next one, soon-come.
Even the seven different covers that adorn A La Sala’s various vinyl editions offer a throughline from the music into Khruangbin’s current frame. Designed by the band using Marko’s multitude of travelog photos, they are windows from the band’s living room onto a set of daydreams, scenes of impossible skies, external glances illuminating what is going on inside. These are also directly related to David Black’s images of DJ, Laura Lee and Marko which accompany A La Sala, and to Khruangbin’s live staging reinvention. It’s all about looking out and looking back, in order to better look ahead.
“All the little moments you capture. You don't see how impactful they are until you hear what eventually comes of them. A lot of those scraps end up being the thing — and you don't realize it until it's ‘The Thing.’” - DJ
credits
releases April 5, 2024
Produced by Mark Speer & Steve Christensen
Written, Arranged & Performed by Khruangbin
Art Direction: Tiny Frees
Mixing: Steve Christensen
Mastering: Chris Longwood
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
2x12"
in stock
Label:Nervous Records
Cat-No:NER26211
Release-Date:23.05.2025
Genre:Deephouse
Configuration:2x12"
Barcode:091012621116
in stock
Last in:18.06.2025
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in stock
Last in:18.06.2025
Label:Nervous Records
Cat-No:NER26211
Release-Date:23.05.2025
Genre:Deephouse
Configuration:2x12"
Barcode:091012621116
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Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore