Cerca:work records

Trouble’s absolute classic: the legendary album from 1990 and the pinnacle of Trouble’s impressive career. Heavy Metal was never better than this! Includes a live bonus CD recorded in Dallas, Taxas (USA)! Trouble’s debut album did great things for Metal and remains one of the darkest, thrashiest Doom albums to date. A lot of things can change in six years, especially when you’re talking Metal and the dates are 1984 and 1990. The decade may have changed them, but not in a way that suggests decay or a decline in the quality of their resolve or their skill as musicians and performers. On the contrary, Trouble’s 1990 self-titled release is arguably their most mature, boasting a fleshed out sound with unparalleled songwriting, a great production, and the time-crafted vocals of Eric Wagner which had improved major in the years since their previous efforts. All of this culminates in what is my mind the most “complete” thing Trouble ever created. From the mid-paced chug of a killer opener in “At the End of My Daze” to the last notes of “All Is Forgiven”, I can’t see filler or anything resembling a weak link. The riffs here are some of the best ever written, by Trouble or anyone else; every song has a manically awesome main riff that demands a display of headbanging. Riffs are undoubtedly the point of focus here; they make the songs, and they’re a timeless variety of great. Also, the interplay between guitarists Bruce Franklin and Rick Wartell is some of the best lead work you will ever hear in Metal. Trouble basically reinvented themselves with this release, and while I think it was a fantastic rebirth, those who aren’t so keen on the laid back stoner vibe they chose to adopt may not see it as a rejuvenation, but a step back (they did go from doom and gloom to collectively embracing their inner acid dropping free love hippie, after all). But the Metal remained fully intact! And as I’ve said, I think this is Trouble at their best. This is originality and innovation at its best, it is supreme quality. A leader of bands paves the way and then steps aside to create something that will serve as an example of how to improve upon an established formula: that is, by doing it really damn well.

Twenty years ago, ILL BILL released “What’s Wrong With Bill?”, a raw, unfiltered snapshot of where his mind was at during a dark, creative and transformative time. Chaos and clarity in musical form, a record built from trauma, truth and the New York streets that raised him. He never imagined it would become what it did: a cult classic with a revered mystique that continues to be quoted and debated 20 years later. This album captured ILL BILL at his most urgent, most aggressive and most alert to the madness around him.

For the first time in two decades, “What’s Wrong With Bill?” is being reissued on 2LP vinyl, a complete capsule including an alternate variant cover, 20th anniversary commemorative OBI strip, and, for the first time ever, a cassette edition, alongside a remastered limited edition CD. This is more than nostalgia, it’s encapsulated arcana, proudly representative of an era when Hip Hop was dangerous, fearless and alive. This one is for the true believers who never forgot.

Here are 4/5 of the early work of Dj Ultramars, before he created his own label, Mars Assault Records.

Dj Ultramars drew inspiration from records from the begining of Hard Techno; from some work of the Spiral Tribe, but also just from the musical impression he had after attending his my first free parties.
Those tracks corresponds to a certain moment in the history of the free party movement, so a release on Toolbox Killerz was logical.

The tracks have been edited so that the arrangements would be more relevant to nowadays standards, and to alow a better sound quality on vinyl. Back in 1997, we didn't know better about vinyl cutting & premastering, so we went to a legacy cutting studio that had made all the cuts for Rock & Pop for decades, and they didn't understand the specifics of such Tekno music. Therefore on their first release, those tracks didn't make much sense without the highest frequencies... This time we have their ultimate cuts, the way they should always have been cut on vinyl, thanks to the legendary Hervé @ DK mastering studio.

David joins the Kontakt family under his Small Solar System Body moniker with two powerful uptempo dub-grooves. The Skudge treatment is a repetitive driving dub workout which will send you straight on the floor.

“Stuck in My Head / Home is Behind” marks the most profound and personal release from Jamie Collomb, known to many as Oneduz - artist, father, husband, and co-founder of The Global DNB Collective. This vinyl project, created with unwavering passion and intention, was Jamie’s proudest work, a true reflection of his artistic soul.
Tragically, Jamie passed away unexpectedly just as the record entered production. Featuring original tracks by Eclipsed Shadows and Noisesmith, and powerful remixes by two of Jamie’s heroes: drum & bass legends Blame, and longtime friend and inspiration Danny Styles. This release stands as both a musical statement and a lasting tribute.
Following Jamie’s passing, his creative partner Andy (Syntax Era) and GDNBC designer Ryan Feyler (Drbblz) came together to carry his vision across the finish line. Every detail of this release honors Jamie’s legacy.
All profits from this album will go directly to support Jamie’s wife, Shanda, and their two young children, Porter and Hadley. This is more than a record, it’s a celebration of Jamie’s life, his music, and the community he helped build.

In the summer of 2021, Brighton-based, Scottish-Thai songwriter Helen Ganya's grandmother passed away

The grief hit the artist hard, not only because it marked the loss of her last remaining grandparent, but also because it felt like her links to being half- Thai were disintegrating, roots quaking and shifting in uncharted territories. Ganya grew up in Singapore, but spent her summers in the northeast of Thailand where her mum's side of the family is from, visiting her grandmother. Where would all those memories go now that the person at the centre of them was gone? What was her relationship to this place without that glue? And so, in an attempt to process it all, Ganya began to write. "I got my diary and wrote every single memory of my time as a child in Thailand, spending time with her, my grandad, my aunts and cousins and everything," she explains, "I had these snapshots of memories that I just wrote down because I just suddenly panicked: it was like, who am I, then?" It was for this reason that, while Helen Ganya was waiting for her acclaimed 2022 album, polish the machine, to come out, she was already working on what would become her arresting new record, Share Your Care. Ganya has been releasing music since 2015 (formerly under the moniker Dog in the Snow). In the records she's put out over the years, she's shown a proclivity towards dark and artful rock and off- kilter sounds, garnering praise from the likes of the Sunday Times, Uncut, Clash, Loud & Quiet and more. But Share Your Caremarks a new era, building on Ganya's past sonic worlds and interspersing them with traditional Thai instrumentation, resulting in a plush, luminous, psych-tinged affair that is full of feeling. The result is a triumphant, abundant record, teeming with heart and cinematic warmth.

This is the third release by Trevor Dunn (Mr Bungle, Fantomas, Trio Convulsant, various with John Zorn) and Kevin Rutmanis (Tomahawk, Melvins, Cows, Hepa/Titus) On this outing Trevor joins Lords and Lady Kevin (duo of Kevin Rutmanis and drummer/artist Gina Skwoz) for a full length LP "Last Days at Hot Slit"

Songs are loosely based on assorted gospel, blues and jazz songs, some original, some covers. Included is a re-working of Mingus "Devil Woman". The trio based the pieces on improvisations that were then arranged and used to build free standing songs. A multitude of instruments were exploited by all those involved, to create a sizzling blend of aural delicacies. The album title is from a collection by writer Andrea Dworkin, often sited as the Celine of feminism. Less outre perhaps than their previous recordings, these songs hover somewhere between soundtrack- like excursions, to jazz/ blues mutations to a demented "rock" sounding affair. Something for everybody, or perhaps, nobody! Uniting former and current members of Tomahawk, Last Days At Hot Slit marks a powerful reunion between Rutmanis and Dunn. The record took shape gradually, born from Rutmanis's raw, unconventional bass recordings. "I sent Trevor a phone recording of some hideous bass racket and asked if he wanted to add anything," Rutmanis shares. "What he sent back was something like delicious fresh cherries with ice and banana slices." The pair's combined creativity gave rise to a new, immersive soundscape, while their collaborative piece, Crackpot Whorehead, set the tone for the current formation of Lords and Lady Kevin."

Unit Nine is a The Hague-based musical collective weaving together soulful melancholy, minimalist composition and soft grooves. Their debut album, Disaster Jester, will be released digitally and on 12’’ vinyl on The Hague imprint PIP Records on November 14th, 2025, celebrated with a release show at Paard, Den Haag. The album was recorded under guidance of renowned producer Tijmen van Wageningen, at The Womb Studio.

Disaster Jester revolves around the archetype of the jester, the trickster who embodies both chaos and wisdom, humour and tragedy. Across the album, music video and cover artwork, he appears as a clown in a shadowy crime narrative and as a weary detective who eventually dons the fool’s hat himself. The image becomes a mirror for the artist: observing, stumbling, laughing & fooling. The track ‘Afgesproken Plek’ features rap artists KC and MC Lost, who provided an imaginary crime skit playing on the detective persona central in the story telling of the album.

While their universal and timeless sound could travel anywhere, there’s something distinctly The Hague about Unit Nine; a mix of irony, unpolished charm, and understated design sensibility. Their city’s blend of rough edges and refined aesthetics runs through their work and places the debut album within a historical tapestry of not-so-mainstream culture and art that the sea town is known to embody.

The Cryovac machine operates independently to service the world with an original strain of techno. Our people are pioneers of their own sound and seasoned veterans of its' cause. This cause is the basis for our action and the motivation for our vinyl. Cryovac believes the vinyl format is the truest way to take in our music, and this is why we take great care to personally craft our own plates and photograph our own art. The Cryovac approach and stance make it a true oddity in a world of commodities, and we hope you realize, feel, and respect our work.

Andy Vaz is a rebel from the city of Cologne. He is a creator of techno labels that follow their own path and challenge the standard dogma. His version of the techno sound has gone from stark and funky minimalism to synth cascades and housey feels. Andy Vaz is the perfect choice to collaborate with Andy Garcia. Garcia's brand crunchy soul tech mixed with vocal nonsense is the yin to Vaz's yang. These like minds share a name, a spirit, and a drive to keep moving forward no matter the cost.

"Petitmas! PETIT IDOLM@STER" (Akane, original story by Bandai Namco Entertainment, 15 volumes published by KADOKAWA ongoing) is a popular
four-panel comic series currently running in Dengeki Maoh magazine. It's based on "The Idolmaster," a series that has garnered immense support from
fans across a wide range of media mixes. The anime series "Petitmas!" began airing in January 2013, and the 12 solo single CDs by the 12 idols from
765 Production will now be released on LP!

The records will be released as six products, each containing two titles from all 12 volumes of "Twelve Seasons!", on two discs.
The first wave will see the release of three products over three consecutive months.
The jackets feature designs from previous CDs, and are double-jacketed, with the jackets from both volumes on the front and back four.

Kontakt Records presents KNT-47 “Chromatic Noise”, a deep exploration of dub techno and dub-infused house from Canadian producer Matt Thibideau. Across three extended cuts, Thibideau sculpts spacious, analogue-leaning grooves where every element has room to breathe. Subtle saturation, soft tape hiss and finely tuned low-end weight create that unmistakable sense of depth, while shimmering chords and carefully placed delays drift in and out of the stereo field. The result is music that feels both hypnotic and alive, built for long blends, late sessions and sound systems that reward detail. “Chromatic Noise” sits comfortably in the Kontakt Records tradition: timeless dub aesthetics, modern production values and a focus on atmosphere over obvious peaks. It’s the kind of 12" that works just as well as a DJ tool as it does for attentive home listening – patient, understated and endlessly playable. Tiny shifts in texture, filter movement and echo tails keep the tension moving forward without ever breaking the spell.

Kontakt Records presents KNT-47 “Chromatic Noise”, a deep exploration of dub techno and dub-infused house from Canadian producer Matt Thibideau. Across three extended cuts, Thibideau sculpts spacious, analogue-leaning grooves where every element has room to breathe. Subtle saturation, soft tape hiss and finely tuned low-end weight create that unmistakable sense of depth, while shimmering chords and carefully placed delays drift in and out of the stereo field. The result is music that feels both hypnotic and alive, built for long blends, late sessions and sound systems that reward detail. “Chromatic Noise” sits comfortably in the Kontakt Records tradition: timeless dub aesthetics, modern production values and a focus on atmosphere over obvious peaks. It’s the kind of 12" that works just as well as a DJ tool as it does for attentive home listening – patient, understated and endlessly playable. Tiny shifts in texture, filter movement and echo tails keep the tension moving forward without ever breaking the spell.

A true double-sider of soulful excellence, Mr. Soul (aka Al Scott) delivers pure magic on Genuine Records with “You’re Too Good” and “What Happened to Yesterday.” On “You’re Too Good,” Scott’s smooth, honeyed vocals glide over a mid-tempo groove, blending elements of sweet soul and crossover with effortless style. The lush instrumentation, crisp rhythm section, and irresistible melody make this a standout for DJs looking to work deeper cuts into a set or collectors seeking that perfect soulful gem for their box.

Flip it over and you’re treated to “What Happened to Yesterday,” a deeply emotive ballad rich with longing and heartache. Scott’s vocal performance is drenched in feeling, perfectly supported by subtle strings and understated arrangements that let the song’s emotional weight shine through. Released on the much-loved Genuine Records imprint, this rare 45 has long been a favourite among serious soul heads, with both sides offering something special—whether for the dance floor or reflective late-night listening. A must-have for any serious soul collector.

Arepas Records follows up its debut serving with a second course of flavoursome house music: “Ceylon Treats EP” by Erwin. True to the Arepas concept of combining dancefloor functionality with culinary storytelling, “Ceylon Treats EP” is all about mood, texture and pacing rather than obvious peaks. Erwin’s production leans on warm basslines, rolling drum programming and hazy chords, spiced with percussive details and small melodic phrases that flicker through the mix like passing smells from an open kitchen. Some moments are cosy and intimate, others are more driving and hypnotic, but everything is tied together by a deep, inviting groove that works from warm-up to after-hours. AREPAS002 feels like a natural evolution of the label’s first chapter: still deep, still soulful, still obsessed with flavour, just with a new recipe and different ingredients. House, deep house, dub house and tech house come together in one coherent, story-driven EP that rounds off the flow of a day, night or early morning like a carefully prepared dessert course. No skips, no fillers. Just pure flavour. Beats & treats.

Shoegaze slow dance where distortion and desire merge into a single narcotic pulse. Each track feels like a transmission from a beautiful but broken future, numbing the senses before consuming them completely. Much like the most immersive works of Tropic of Cancer or Death in Vegas, the album drifts beneath a flickering sodium sky, lost in reverb and ritual. This is not just another new release—it’s an unforgettable sonic hallucination, a cinematic comedown carved in echo and melancholy, where time and thought dissolve in waves of velvet static. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl, including printed innersleeve with lyrics.

Deey, a native of Futenma, Okinawa, is one of the most popular artists today, known for his collaboration with Leo Iwamura on "Deep Blue," and EVO, who has
made a name for himself with The Anthem, hosted by IMUHA BLACK, and is attracting attention. This LP features a remarkable album by three artists at the forefront
of Japan's underground hip-hop scene, all produced by MrRn, whose popularity is rapidly rising in the Kansai region.

"Working with these three artists, I was able to bring out the best in myself and express my passion for swaying, nodding, and communicating. "Sunshin" in particular
is a song I want everyone to listen to and feel for its vibe and message!" -- Deey

"The album title, 'Amon', literally means 'Gate of Asia.' When we listen to music, we're usually drawn to the sound and groove first, so we created a record that
will resonate worldwide, regardless of the current domestic scene. I'm not really into forming and organizing a crew, so I'd like to continue working with friends
who share Amon's concept, not just in music, but in other areas as well." -- EVO

"When you hear it, it'll hit you like lightning. Creating it with my friends, supporting each other, learning from each other, I've managed to express myself more

authentically than any other production I've ever done." – MrRn

A Larum, the debut album by singer and actor Johnny Flynn, was recorded in Seattle and is one of those rare albums that immediately creates its own world - Originally released on Vertigo Records in May 2008, this re-issue faithfully replicates the original 2LP release's pop up gatefold sleeve and is pressed on 180g vinyl Backed by his band The Sussex Wit, the album's songs were likened to the work of Fairport Convention and Bert Jansch by Rolling Stone.

Flynn has been described as "a musical prodigy turned Shakespearean actor, with the soul of a poet," and his songs offer a sweet gentility in an increasingly loud time. Close mic'ed and intimate, Flynn cast his eye over romance, religion and celebrity. A Larum became something of a beacon for the burgeoning folk scene at the time, with fellow travellers such as Mumford & Sons, Laura Marling and Noah and the Whale. Since A Larum, Flynn has carved out a singular path as both a critically acclaimed musician and award- winning actor. He has released a string of celebrated albums including Been Listening, Country Mile, and Sillion, continually evolving his sound while maintaining his signature storytelling. As an actor, he's earned accolades for roles on stage and screen, notably portraying David Bowie in Stardust and starring in films like Emma (2020) and Netflix's The Dig. He also composed and performed the beloved theme song for the BAFTA-winning series Detectorists, where his evocative music became inseparable from the show's gentle, melancholic charm. ...

Essential repress of the perennial DJ favorite now available on wax again for the first time since the original press in 2021!

The music is compiled from two rare 12" releases dating back to the early 90s produced by Jason Adkins (who we sadly lost in 2024), and co-produced by Tony Boninsegna (whose work the labels covered extensively in the 4xLP anthology Notes From Underground), and finally remastered by Thomas P. Heckmann.

The production team shared many musical inspirations, most notably Detroit techno, jacking Chicago house, EBM, the industrial funk of Cabaret Voltaire and the pioneering bleep sounds of Warp Records' earliest releases. As a result, the tracks they made brilliantly blurred the boundaries between contemporaneous electronic music styles while also adding layers of technical polish so often missing from British club tracks of the period.

The completed, released version of 'Tone Float' remains an overlooked UK classic – a gorgeous mixture of squelchy acid bass, sharp TB-303 lines, ethereal chords and whispered spoken word snippets – while the accompanying remix, which is also featured on Garden of Eden, brilliantly re-imagines the cut as a funk-fuelled, deep electro beast.

House of Harm are proud to announce the forthcoming release of their new album Playground, out December 1st, 2023. The new record builds and expands upon the three-piece’s enthralling shadow-pop sound, a mix of midnight atmospherics, 90s era jangle pop, and contagious synth drenched hooks that further elevate the transcendent vocals of lead singer Michael Rocheford. Rounded out by Cooper Leardi (guitar / synths) and Tyler Kershaw (guitar / synth), House of Harm have amassed an impressive following as something of a best kept secret among their growing fanbase, leading to sold out shows on both coasts by the power of word of mouth alone.

The band members have been drawn to music for as long as any of them can remember, and the drive to be around like-minded artists and make their own noise drew them all to Boston after high school. There they all quickly enmeshed themselves, playing in other bands before meeting each other. Ever since, House of Harm have been quietly making a name for themselves among music fans with darker pop persuasions via a steady stream of releases in single, ep and album form.

That attention to detail and workmanlike approach at the expense of chasing instant gratification seems to be paying dividends after years of steady effort. The journey of their new album Playground saw House of Harm stay true to that ethos. The band painstakingly narrowed the record down to an efficient 10 tracks that they felt made the most sense, both standing on their own as well as fitting into an LP that built a cohesive world for the listener to get lost in. The album’s name also reflects the experimentation and happy accidents that came about during the writing and recording process.

On “The Face of Grace” they set out to explore different dynamics by writing a song entirely without drums, but couldn’t help themselves from putting emphasis on the song’s 6/8 waltz time signature. “Two Kinds” is another first for House Of Harm in that it’s predominantly driven by acoustic guitar. That aforementioned vulnerability shows up in other areas of the songwriting process as well with “Two Kinds”, one of their most revealing songs to date from a lyrical standpoint, written from a place of reflection and weakness and tackling feelings uneasy to be put on display for public consumption.

Taken as a whole, the end result is an album representing a collection of the band’s most raw and expressive songs yet.

Czartificial Intelligence debuted at #1 on Billboard’s Top New Artist Albums chart when it was released in November and was the #2 most-added at Hip-Hop That also makes it the #1 debut on the chart. The wins keep coming as the record also debuted on the genreless Top 200 chart, coming in the top half of all records and a top 10 debut for the week! The third full week of airplay for the LP saw 3s all around as it earned a third week on the Hip-Hop chart and another top 3 appearance! Over at NACC top 200, the record cracked into the Top 50, 40+ spots up to a new peak and one of the top 10 greatest gainers for the week! The album peaked at the NACC 200 in Week 4, just outside the Top 40! That week it also hit a peak at Earshot, topping that chart at #1! The album earned 5 weeks at #1 NACC Hip-Hop, the record so far for the 2024 NACC Hip-Hop Chart!

CZARFACE debuted with their self-titled album in 2013 though 7L, Esoteric and Inspectah Deck first worked together on the 12" single “Speaking Real Words” in 1999. The three continued to stay in touch, periodically working together and, in 2013, Esoteric approached Deck about a possible full-length project centered around a superhero character called “CZARFACE."