PRESENTS FOHDH / MATTHEW GETS SICK OFF CHEAP WINE AND PREFERS GRUAUD-LAROSE 1945 by WINO WILLY
| SKU | 142667 |
| Artist | WINO WILLY |
| Title | PRESENTS FOHDH / MATTHEW GETS SICK OFF CHEAP WINE AND PREFERS GRUAUD-LAROSE 1945 |
| Label | BACKWOODZ STUDIOZ |
| Catalog # | BWZ806 |
| Tag | |
| Release | W 46 - 2025 |
| Format | Vinyl - USLP |
| € 46,50 | incl. VAT, excl. shipping |
Tracks
- Matthew Meets Margiella In Person
- Matthew Receives Painting From Takashi Murakami
- Matthew, Holy Fuck!!
- Matthew's Not Grimy, Baldy like Tommy
- Matthew Figure Skating Benz On Blades
- Matthew's Highway Motor Not Turning Over
- Matthew And The Word Of Quilly The Wise
- Matthew's Property Of Speech, Moments of Weak
- Matthew Meets A Stepper, The Fall Of 60th St Wooz
- Matthew Loves Drug Empires, USA
- Matthew Is Shadow Boxing With Angels
- Matthew And The Grilchy Party Legacy
- Matthew Saw Demons At 8
- Bonus
- Matthew's No Bitch 'A' Cursed Mitch
- Matthew Said He Better Get It On Time
Description
This is the Backwoodz Studioz limited edition "Pinkie's Brain" colorway 150g vinyl 12" variant of Matthew Gets Sick Off Cheap Wine and Prefers Gruaud-Larose 1945 album from FOHDH Matthew & Wino Willy, with photography by Alexander Richter. This variant is only available from BackwoodzStudioz.com and Rush Hour Store.
Matthew Gets Sick Off Cheap Wine and Prefers Gruaud-Larose 1945 is the title of the new LP from producer WIno Willy & rapper FOHDH Matthew. Born from the heart of Philadelphia — all hoods, no borders — FOHDH Matthew is the proverbial quiet storm. His cold, calculated flows bristle with bon mots and deadpan humor, but never waver from their hardscrabble roots. This is fine art wrapped in survival. Every track is a canvas. Every verse, a memory sharpened by time.
New Orleans-based hip-hop producer Wino Willy is originally from Edison, New Jersey, but he was raised in Philadelphia. Rooted in the tradition of crate-digging and Afro-futurist textures, his sound bridges gritty soul and cosmic abstraction. Here, Willy digs into his bag to complement Matthew’s cold-blooded cadence; his production is muddier, and more surreal than his previous work. Samples are deformed and twisted beyond recognition, drums submerged in embalming fluid, all in service of the MC’s relentless narratives. His flow across the beats is precise and fluent. Never an awkward moment or choppy transition; he’s on a singular wavelength the whole way through, gripping the track like a black .45. Friction tape is optional.














