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Recorded on November 13th 1990 in Santa Cruz, CA, where the band were rehearsing for their upcoming Weld tour, Neil Young and Crazy Horse played a club show at The Catalyst which is now released here for the first time.
The show comprised three different sets along with a 12 minute encore of Cortez The Killer and all 3 sets including that encore are brought together here in over 2 hours of music.
Said to be one of the great live shows that Neil Young and Crazy Horse performed, the album includes live versions of songs from their Ragged Glory album, released just prior, along with classics from across their catalogue.

Country music has chased piety, poetry, and much else, but The Social World is unapologetic hardcore, beer-sodden country music reduced to its core values. No faking. No pretension.
Spare, unornamented, and straight from the heart, the songs on the “Social World” of Rodger Wilhoit are all that’s holy and true in beerhall country music. The instrumentation is only as full as it needs to be. The singing is careworn and deeply sincere. There’s nothing tentative or lukewarm in Wilhoit’s music. It isn’t going to meet you halfway.
It seems that there’s always more to discover. Most copies of Social World and Rodger’s singles were probably sold off the bandstand 40 or 50 years ago. They were among the thousands of records by local artists on local labels sold off local bandstands all across the country. Most ended up in garage sales, thrift shops, or landfill. But every so often, an artist will be resurrected, and find a new audience. Rodger Wilhoit is one such singer. At a time when most mainstream Nashville country music sounds so contrived and empty, it takes an artist like Rodger Wilhoit to remind us what it’s really all about.

As Plankton Wat, Dewey Mahood uses his considerable
guitar prowess to deliver an album that encompasses
both the wild, seeking energy of free-improvisation and
the deliberate arrangements of more traditional
composition.
With his deft and stylistically varied playing, Plankton
Wat’s ‘Future Times’ escapes psychedelic tropes and
chemical fuelled alterations and instead celebrates an
escape into the natural world.
‘Future Times’ taps into psychedelia’s counter-cultural
heritage as music for protest, liberation and imagining
new ways of being in this world.
“Pastoral drones and swirling psychedelia” - Pitchfork
Known for his guitar prowess in modern psychedelic
music, specifically with Eternal Tapestry as well as
Edibles, Elephant Factory Galaxy Research and Gärden
Söund among others.
‘Future Times’ was recorded at Mahood’s home studio
Solar Commune, with additions from Dustin Dybvig
(Horse Feathers & Edibles) and Victor Nash (Flash Hawk
Parlor Ensemble). Features Ash Dybvig on flute.
LP comes on red or black vinyl packaged with download
code and insert.
“Mahood’s lonesome universe is definitely a psych-folk
monster on the sly… Mahood’s gone far into the burrow
of psychedelia for an album that’s caustic and tender,
bittersweet and effervescent.” - Raven Sings the Blues

As Plankton Wat, Dewey Mahood uses his considerable
guitar prowess to deliver an album that encompasses
both the wild, seeking energy of free-improvisation and
the deliberate arrangements of more traditional
composition.
With his deft and stylistically varied playing, Plankton
Wat’s ‘Future Times’ escapes psychedelic tropes and
chemical fuelled alterations and instead celebrates an
escape into the natural world.
‘Future Times’ taps into psychedelia’s counter-cultural
heritage as music for protest, liberation and imagining
new ways of being in this world.
“Pastoral drones and swirling psychedelia” - Pitchfork
Known for his guitar prowess in modern psychedelic
music, specifically with Eternal Tapestry as well as
Edibles, Elephant Factory Galaxy Research and Gärden
Söund among others.
‘Future Times’ was recorded at Mahood’s home studio
Solar Commune, with additions from Dustin Dybvig
(Horse Feathers & Edibles) and Victor Nash (Flash Hawk
Parlor Ensemble). Features Ash Dybvig on flute.
LP comes on red or black vinyl packaged with download
code and insert.
“Mahood’s lonesome universe is definitely a psych-folk
monster on the sly… Mahood’s gone far into the burrow
of psychedelia for an album that’s caustic and tender,
bittersweet and effervescent.” - Raven Sings the Blues

‘Galdre Visions’ is Leaving Records supergroup Galdre Visions’s debut release. Inspired by Celtic mysticism, outer space and New Age both classical and modern, ‘Galdre Visions’ is a document of the exploratory, healing power of music.
Galdre Visions are comprised of Olive Ardizoni (Green-House), South Asian-American sitarist Ami Dang, Diva Dompé of Yialmelic Frequencies and harpist Nailah Hunter. These four artists were drawn together during the pandemic to remotely create collaborative music reflecting global uncertainty.
‘Galdre Visions’ is a reflective, ambient journey with airy vocal harmonies and layers of field recordings, harps and slow-burning ambient chords.
The record is housed in a tip-on jacket with microtene inner sleeves and played at 45 RPM.
For fans of Laraaji, Mort Garson, Kaitlyn Aurelia Smith, Huerco S., Emily A. Sprague, Ana Roxanne, Christina Vantzou.

An album of our times, Newcastle band Maximo Park return with
their seventh full length, ‘Nature Always Wins’.
The album arrives as something of an examination, zeroing in on the
notion of the self, identity as a band and that of humanity as a
whole. The album’s title nods to the famous Nature vs Nurture
debate. Discussing whether change is capable under the influence of
time, perspective, environment or if we are destined to be bound by
our own genetics, it asks, “who are we, and who do we want to be,
and do we have any control over it?”
“I’m so happy we were able to make this album during lockdown, as
it’s been a challenging time for everyone. After almost 4 years since
‘Risk To Exist’, we wanted to explore new musical territory (for us)
without sacrificing our trademark melodic twists and heartfelt lyrics.
As always, the passing of time looms large, although the songs
contain more affection for the past than before, and there are
occasional hints of the fractious, divided time that we live in.” -
frontman Paul Smith
Produced by Atlanta-based Grammy-winning producer Ben Allen
(Animal Collective, Deerhunter), who afforded the band freedom to
play and create. What wasn’t anticipated was how that freedom
would be soon be stripped, as lockdown restrictions left the band
recording remotely across Newcastle, Liverpool and Atlanta with
audio files bounced back and forth, 4000 miles across the world.

An album of our times, Newcastle band Maximo Park return with
their seventh full length, ‘Nature Always Wins’.
The album arrives as something of an examination, zeroing in on the
notion of the self, identity as a band and that of humanity as a
whole. The album’s title nods to the famous Nature vs Nurture
debate. Discussing whether change is capable under the influence of
time, perspective, environment or if we are destined to be bound by
our own genetics, it asks, “who are we, and who do we want to be,
and do we have any control over it?”
“I’m so happy we were able to make this album during lockdown, as
it’s been a challenging time for everyone. After almost 4 years since
‘Risk To Exist’, we wanted to explore new musical territory (for us)
without sacrificing our trademark melodic twists and heartfelt lyrics.
As always, the passing of time looms large, although the songs
contain more affection for the past than before, and there are
occasional hints of the fractious, divided time that we live in.” -
frontman Paul Smith
Produced by Atlanta-based Grammy-winning producer Ben Allen
(Animal Collective, Deerhunter), who afforded the band freedom to
play and create. What wasn’t anticipated was how that freedom
would be soon be stripped, as lockdown restrictions left the band
recording remotely across Newcastle, Liverpool and Atlanta with
audio files bounced back and forth, 4000 miles across the world.

Mercenary is the sixth album by the British death metal band Bolt Thrower. It was recorded at Chapel Studios, Lincoln, England, December 1997 to January 1998. The album was produced by Bolt Thrower and Ewan Davis. It was released on Metal Blade Records in 1998. The cover painting is titled "Contact – Wait Out", which is also the first track on the next album, "Honour – Valour – Pride".

With North Star, Viking Metal pioneers EINHERJER release their eighth studio album on February 26, 2021, proving their status as the pioneers of blending Nordic Black Metal and Folk Metal genres once again. The album marks the band’s return to Napalm Records after 25 years, and their release of the legendary Dragons Of The North album (1996). The Norwegian metal outfit remains musically true to themselves and reinforces their exceptional position. North Star was recorded in the wake of the Covid-19 pandemic at the in-house Studio Borealis, owned by founding member and mastermind Frode Glesnes. The raw production ties in seamlessly with its predecessor Norrøne Spor and makes North Star probably the most powerful EINHERJER album to date! North Star is EINHERJER's musical mission towards something bigger - the search for guidance by the North Star in a constantly changing world that is searching for stability. The album’s opener, "The Blood And The Iron", peppered with uncompromising double-bass thunderstorms, pulls the listener in from the very first second, while "Stars" stomps through atmospheric soundscapes with dark chords. "West Coast Groove" underlines EINHERJER's technical songwriting sophistication with finest guitar solos. North Star will be available in black, blue/white inkspot and limited gold vinyl editions (gold limited to 300 copies). Founded in Norway in 1993, the band has significantly influenced the way of Viking Metal in the following years with Dragons Of The North - 25 years later, EINHERJER are stronger than ever and are bursting with energy on North Star! 1. SINGLE - EN Stomping drums and gloomy guitar chords, paired with ice-cold vocals by singer and guitarist Frode Glesnes - "Stars" draws the listener into the icy, dark world of EINHERJER! 2. SINGLE - EN With powerful double bass grooves, a catchy chorus and technically skilled guitar solos, EINHERJER are more uncompromising and harder than ever on "The Blood And The Iron"! 3. SINGLE - EN Old school vibes meet dark Viking Metal atmosphere in "West Coast Groove" - EINHERJER are in top form and still prove their status as genre pioneers after more than 25 years!

A deluxe vinyl reissue of Demigod's 2002 album Shadow Mechanics. This version comes with a gatefold sleeve and is limited to 500 hand-numbered copies on violet splatter vinyl. Demigod’s criminally underrated second album of cult Finnish Death Metal from 2002 released on vinyl for the first time! Melodic, brooding and doom-laden death metal, punctuated with full-fledged scorchers such as the fierce and blasting "Gates of Lamentation", makes Shadow Mechanics an unpredictable treat, way ahead of its time. This seven-Finn act's potent, driving obscure death metal dispenses pure surges of metal-laced adrenaline thanks to the gruesome vocals and a monstrous Finnvox production. Layering the album with more solemn and atmospheric cuts, Shadow Mechanics shows Demigod pushing at the boundaries of their sound and the conventions of the scene at the time. Pressed in a limited quantity of 500 hand-numbered copies on violet splatter vinyl, with a gatefold sleeve and old-school classic Demigod logo replacing the typeface of the original CD issue, this highly collectible new Svart Records pressing is a treasure for any self-respecting Finnish Death Metal connoisseur to complete their collection.

The Martha’s Vineyard Ferries - ‘Suns Out Guns Out’ Over the course of two prior releases — 2010’s ‘In The Pond’ (Sickroom) and 2013’s ‘Mass Grave’ (Kiam) — The Martha’s Vineyard Ferries quietly carved out a high-IQ corner of the U.S. rock underground reserved for taut, deathly catchy songs that showcased deft (if get-to-the-point) instrumentation. That the band have been kinda/sorta under the collective radar has more to do with their being otherwise occupied (more on that in a minute) than a lack of artistic ambition; they’ve slayed before and after a long break, they’re back to slay again. So you’re wondering, what could possibly take precedence in real life terms over playing in a band this awesome? Much as I hate to compare and contrast, part of the dilemma is that the principals of The Martha’s Vineyard Ferries — commonly referred to by their fans as “the Fuckin’ Ferries”, “The Martha’s Vineyard Ferries” by everyone else --- are in too many awesome bands already. Guitarist/vocalist Elisha Wiesner has previously set the world on fire with the Massachusetts sextet Kahoots and earlier this year released a 63 song (!) digital masterclass in songwriting under the John Pancake nom de plume. Drummer/vocalist Chris Brokaw has previously pounded on things for heavyweights including but not limited to Codeine, The New Year and Obnox, though there’s a fair chance you’ve also heard his guitar/vocal performances, both solo and with Come (as well as an impossibly long list of contributions to the likes of The Lemonheads, Dirtmusic, Thurston Moore, Consonant and more). Bassist/vocalist Bob Weston is internationally renowned for his sternum-crushing work on behalf of Shellac, Volcano Suns and sound manipulation tactics for Mission Of Burma (I’ve not heard any of the above, but I’m told they’re all “ok, if you’re into that sort of thing”) Add to this workload the tiny matter of the 3 players having spent most of the last 7 years living in 3 different time zones, it’s nothing short of a miracle the 3rd and finest Martha’s Vineyard Ferries album could pass for the sustained effort of 3 men who’ve been locked up together all this time, writing and recording a powerful statement to rival anything in their collective catalogs (I’m thinking of a scenario kind of like “The Lighthouse”, except there’s 3 men instead of two and there’s more guitars than birds, but maybe the occasional bird, as you tend to get a few of them near the water).

Directed by Just Jaeckin, the creator of Emmanuelle, starring Françoise Fabian, Madame Claude is inspired by the fictionalized memories of Fernande Grudet, the sulphurous instigator of the most famous luxury prostitution network in Pompidolian France. The totally disco-funk Original soundtrack of this film released on screens in 1977 from Serge Gainsbourg is sublimated by the immense arranger- Jean-Pierre Sabar". Without forgetting the generic song of Madame Claude “Yesterday, Yes a Day” interpreted by Jane Birkin. Reviews in London Macadam, and L’Echo Ads London Macadam and L’Echo

The “nighters” at Wigan Casino initially ran from 2am-8am every Saturday night/Sunday morning. From midnight onwards, crowds would gather outside and spill over onto the road blocking the local traffic. As attendances grew the crowds became a problem, particularly to the local constabulary, and on the eve of the Casino’s 1st Anniversary – with a genuine threat of closure looming – a momentous decision was made. Gerry Marshall, the Casino’s owner, somewhat reluctantly decided to open the club’s adjoining cabaret lounge, known as “Mr M’s” (named after the man himself).

That night Northern Soul history was made. It was the start of an era, the birth of the “club within a club” and, as it proved to be, a temple to fans of Northern Soul “oldies”. Eventually at 3am the black double doors – which separated Mr M’s from the upstairs balcony of the main ballroom – burst open, and a sea of soulies hit the dancefloor for the very first time to the banging sound of “Hey Sah-Lo-Ney” by Mickey Lee Lane, spun by DJ Alan Cain and featured here in all of its remastered glory (side 1, trk 1).

Such was the incredible response to that first night in Mr M’s in 1974 that a petition did the rounds gaining over a thousand signatures demanding that it should continue every week! What had intended to be an emergency one-off event had unintentionally ended up being the longest, most popular “temporary” oldies venue EVER!

M’s, as it was more affectionately known, soon became the No.1 oldies venue in the 70s. It was unashamedly “100%” oldies and “100mph” dance tunes!!! It was like an engine room churning out vinyl memories week in, week out and the atmosphere and sounds are captured here!

3 tunes of Pure industrial dark acid Techno... Bangerz kick, with strange grooves and progressive obsessing sounds entering in. Music is there and, as you close your eyes, you go with her, exploring strange landscapes, on the burning sun... Dark Hynotizing sounds.

Montreal-based producer & DJ Slick Shoota brings us Function, his debut LP and first solo release on the Teklife imprint. A native of Norway known for his renowned Oslo club night Ball Em Up, he's been a member of the elite crew since 2015, contributing tracks to the label's compilations such as On Life Vol. 2 and VIP Trax. Using a unique palate that combines both traditional footwork drums and eclectic otherworld sonics, this album expands on the signature sound he's been brewing during the course of his career, celebrating his longtime love of the Chicago soundscape, with a healthy helping of UK rave, jungle, and vibes from other fast paced club realms. Slick starts the record off with Hovercraft, a big burly mutant rap beat riding a glowing titanic wave of jungle subbass, with vicious hi-hats stabbing through the mix. Desire Path follows with hysterical horns cruising along a stampede of erratic Chicago percussion. A glitchy, malfunctioning computer meets drumline stomps on See Me Flex, resulting in a psychotic, yet psychedelic sci-fi soundscape. Ultra-distorted hardcore kicks open up Jellyneck, dropping straight into a dungeon of ghostly vocals and headlong toms. Warehouse 2K opens up the B-side with R&B chops and lasers floating on a charming cloud of pulsating pads. Mad doppler sirens loop around your head on Delahaze, as distant clangs and crashes fight an impatient, throbbing bassline. Classic rave atmospheres are met with Slick's elegant sound design on MTL Hardcore, his ode to his adoptive city. The album closes off with Special Tek, channeling the signature quirky drum sounds of the late DJ Rashad over a pounding, fast paced house beat, a wonderful nod to the Windy City and its influential sonic culture. Carving out his own sound from the legacies of Chicago, the UK, and other underground club hotspots, Slick Shoota has found his own recognizable voice within these realms of dance music, and this LP serves as documentation of that solidified voice. Years of studying the masters and immersing himself with their work has clearly paid off, and he's respectfully taking these sounds he loves in exciting new directions. Bridging gaps both historical and geographical, Function marks a pivotal point in his career, and is clear evidence that Slick Shoota is vital member of the legendary Teklife family.

Experimental electro, hard and dark. Original style !

Pressed here for the first time on burgundy vinyl, this compilation album, originally released in 1996, includes era-defining hits such as “I’m Every Woman”, “I Feel For You” and “Through The Fire”.



c A3. Tell Me Something Good (Live) With Longer Fadeu

It’s hard not to notice such an unforgettable sleeve, and if the music it protects is half as memorable as the artwork, you know you just have to hear it. We don’t think you’ll be disappointed because yes, this is the majestic 1971 album Un Muñeco De Madera, courtesy of the shadowy Sola, and it sounds exactly as you’d want it to. Originally released on RCA in Mexico, it’s kaleidoscopic Acapulcan-funk.

The album’s endless grooves are propelled by softly rocking, quasi-library funk breaks. Vocally, Sola is in step with the 60s French pop-chanteuse style, but of course her lyrics are delivered in sensuous Spanish. Her voice is beautiful. Pillowy soft and tender, it can suddenly explode in mystical anger. These are ten tracks of moody, mysterious vibes that stir the spirit and sooth the soul.

The LP was written, arranged and directed by prolific Spanish composer Manuel Alejandro, the man behind an incredible number of now classic Latin love songs from the 60s, 70s and 80s. As for Sola herself, next to nothing is known about the Mexican singer except the occasional whisper heard in only the darkest corners of the annals of music history. It’s said that upon growing disillusioned with the music industry she ended up in a convent of Carmelite Sisters. Fitting perhaps, given that Un Muñeco De Madera is a spiritual wonder of a record.

Much-loved single and title-track “Un Muñeco De Madera” opens the album. It introduces us to Sola’s sparkling Latin-funk, bursting with swaggering grooves sewn by tight drums, sweeping strings and lush keys. It’s followed by the serene but melancholic bossa groove of “Oye Mamá, Oye Papá” and the strings and guitar of “He Bajado Al Infierno” that hold up vocals reaching for an eternal truth. With full-on soundtracky feels, the rolling keys underpinning the Morricone-esque soundscape of “En Ellos Creo” will give you goosebumps. The gorgeous “Soy Rebelde” (“I’m Rebellious”), sets its gentle, piano-led delivery in delicate contrast to the lyrical sentiment.

Perhaps Sola’s most well-known track, the exotic bossa of “Tabu, Tabu”, is a formidable groove. Elegant bongos, prominent bass, delicate acoustics and a persistent flute blend with Sola’s unique voice; sinuous, sassy and forceful at the same time. The stunning “La Última Palabra”, while not literally the album’s last word, is nevertheless a stirring statement of strutting Latin soul, with more musical ideas packed into this one song than the entirety of most long-players.

If you hadn’t decided already, the final two tracks that are the funk-fuelled “Bada-Bada-Ba” and the horn-heavy percussive masterclass “Únete A Mi” will leave you in no doubt that this is one very special record.

Mastered with great respect by Simon Francis, cut by the master Pete Norman and with that sleeve lovingly restored by the Be With team, this re-issue ensures that Un Muñeco De Madera now sounds, looks and feels as beautiful as it deserves to.
: Un Muñeco De Madera (LP)

Originally released in 2010, Mirage is the fourth studio album by renowned Dutch trance DJ and producer Armin van Buuren. Widely regarded as a astaple in Van Buurens impressive career, Mirage peaked at number 3 in the Dutch Album Top 100, as well as reaching the top 5 of the US Top Dance/Electronic Albums. It contains the popular single ‘Not Giving Up On Love’, featuring British singer Sophie Ellis-Bextor. As the record lasts nearly 80 minutes total, it is released as a double LP. It is pressed on red coloured 180 gram audiophile vinyl. The package includes a gatefold with spot varnish and lyrics, as well as an insert with pictures and credits.

Ol’ Burger Beats & Vuyo – Norway’s latest dream team in terms of soulful and jazz-vibed HipHop music with thoughtful lyrics and attitude – present their full-length debut album “Dialogue.” via Jakarta Records.