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Next Polyamore Recs release comes from Costariva, a really interesting project from Bologna (ITA).

‘Pantera’ intended to transport the listener into the midst of the vibrant paths of a dancing journey to the sound of Italo-disco rhythms, bringing body and soul back to the belle époque of Italian disco music.

“Miscela originale” is a blend of Catchy bass lines and shimmering melodies, amalgamated by the colours of strings and synths, the track is the result of the artistic blend between the music produced and arranged by Federico Franciosi and the words skilfully framed with an ironic and boisterous vein by Giorgio Michele Longo (aka Giargo) and Francesco Zaniboni (aka Dj Rou).

“Rivisitazione adriatica” has a catchy, sexy groove and a horns part that let you go on summer nights.

“Sam Ruffillo Rework” is a dancefloor ready track for your best peak-time in the next summer season festival.

‘Pantera’ is also intended as a veiled homage to one of the greatest and most underrated innovators on the Italian and international music scene, Pino D’Angiò.

With its infectious rhythm and playful spirit, ‘Pantera’ promises to make listeners dance and smile, instilling a little healthy and amused nostalgia in all travellers of the night.

The roots of 80s English psychedelic freak band The Tryp lie in a hoax perpetuated by Steve Lines’ indie mag Mardenbeat, based in the town of Calne in the Marden Delta, which reviewed a gig by a non-existent band; former JP Sunshine main man Rod Goodway and partner Christine Cotter then gave flesh to the beast with Lines and Paul Ricketts of Unhinged mag, cutting My Brain Collapsed! as an exploration of mushroom-fuelled mental instability. First issued on cassette label Mardentapes and later by Acid Tapes (just as Lines took over from Alan Duffy), this edition is the first on vinyl-A Must Have FOR ALL Tryppers!

Post Traumatic is the deeply personal solo album by Linkin Park singer Mike Shinoda, released in the months months after the death of Linkin Park singer Chester Bennington was recorded. Originally released in June 2018, the 16-track album included the 3 songs from the Post Traumatic EP released released earlier this year, as well as the singles "Crossing A Line" and "Make It Up As I Go". This 18-track deluxe vinyl re-release of Post Traumatic includes two bonus songs: "Prove You Wrong" and "What The Words Meant"; tracks that were originally released as a limited edition 10" single and added to the digital album. Despite the title, Post Traumatic - which features collaborations with K.Flay, blackbear, Machine Gun Kelly, Deftones, Chino Moreno and grandson - is an album about healing. healing. The songs deal with Shinoda's experiences with loss and yet, thanks to their honesty and universally applicable thanks to their honesty and heart. universally applicable.

a a1 - Place To Start [Mike Shinoda]
[b] a2 - Over Again [Mike Shinoda]
[c] a3 - Watching As I Fall [Mike Shinoda]
[d] a4 - Nothing Makes Sense Anymore [Mike Shinoda]
[e] b1 - About You (feat. blackbear) [Mike Shinoda]
[f] b2 - Brooding (Instrumental) [Mike Shinoda]
[g] b3 - Promises I Can't Keep [Mike Shinoda]
[h] b4 - Crossing A Line [Mike Shinoda]
[i] c1 - Hold It Together [Mike Shinoda]
[j] c2 - Ghosts [Mike Shinoda]
[k] c3 - Make It Up As I Go (feat. K.Flay) [Mike Shinoda]
[l] c4 - Lift Off (feat. Chino Moreno and Machine Gun Kelly) [Mike Shinoda]
[m] d1 - I.O.U. [Mike Shinoda]
[n] d2 - Running From My Shadow (feat. grandson) [Mike Shinoda]
[o] d3 - World's On Fire [Mike Shinoda]
[p] d4 - Can't Hear You Now [Mike Shinoda]
[q] d5 - Prove You Wrong [Mike Shinoda]
[r] d6 - What The Words Meant [Mike Shinoda]

Post Traumatic is the deeply personal solo album by Linkin Park singer Mike Shinoda, released in the months months after the death of Linkin Park singer Chester Bennington was recorded. Originally released in June 2018, the 16-track album included the 3 songs from the Post Traumatic EP released released earlier this year, as well as the singles "Crossing A Line" and "Make It Up As I Go". This 18-track deluxe vinyl re-release of Post Traumatic includes two bonus songs: "Prove You Wrong" and "What The Words Meant"; tracks that were originally released as a limited edition 10" single and added to the digital album. Despite the title, Post Traumatic - which features collaborations with K.Flay, blackbear, Machine Gun Kelly, Deftones, Chino Moreno and grandson - is an album about healing. healing. The songs deal with Shinoda's experiences with loss and yet, thanks to their honesty and universally applicable thanks to their honesty and heart. universally applicable.

a a1 - Place To Start Mike Shinoda
[b] a2 - Over Again [Mike Shinoda]
[c] a3 - Watching As I Fall [Mike Shinoda]
[d] a4 - Nothing Makes Sense Anymore [Mike Shinoda]
[e] b1 - About You (feat. blackbear) [Mike Shinoda]
[f] b2 - Brooding (Instrumental) [Mike Shinoda]
[g] b3 - Promises I Can't Keep [Mike Shinoda]
[h] b4 - Crossing A Line [Mike Shinoda]
[i] c1 - Hold It Together [Mike Shinoda]
[j] c2 - Ghosts [Mike Shinoda]
[k] c3 - Make It Up As I Go (feat. K.Flay) [Mike Shinoda]
[l] c4 - Lift Off (feat. Chino Moreno and Machine Gun Kelly) [Mike Shinoda]
[m] d1 - I.O.U. [Mike Shinoda]
[n] d2 - Running From My Shadow (feat. grandson) [Mike Shinoda]
[o] d3 - World's On Fire [Mike Shinoda]
[p] d4 - Can't Hear You Now [Mike Shinoda]
[q] d5 - Prove You Wrong [Mike Shinoda]
[r] d6 - What The Words Meant [Mike Shinoda]

Post Traumatic is the deeply personal solo album by Linkin Park singer Mike Shinoda, released in the months months after the death of Linkin Park singer Chester Bennington was recorded. Originally released in June 2018, the 16-track album included the 3 songs from the Post Traumatic EP released released earlier this year, as well as the singles "Crossing A Line" and "Make It Up As I Go". This 18-track deluxe vinyl re-release of Post Traumatic includes two bonus songs: "Prove You Wrong" and "What The Words Meant"; tracks that were originally released as a limited edition 10" single and added to the digital album. Despite the title, Post Traumatic - which features collaborations with K.Flay, blackbear, Machine Gun Kelly, Deftones, Chino Moreno and grandson - is an album about healing. healing. The songs deal with Shinoda's experiences with loss and yet, thanks to their honesty and universally applicable thanks to their honesty and heart. universally applicable.

Fulltone is warmly welcomed back to Lee Burridge’s esteemed imprint to unveil his newest body of work, the four track Alba EP
In crafting the Alba EP, Fulltone embraces the endless expanse of creativity. Reflecting on the elusive nature of inspiration, he compares it to the act of fishing, where patience and persistence are essential to reel in moments of brilliance. "Sometimes you catch a fish immediately, sometimes it takes hours or days, but you won’t catch any fish unless you go to the sea with a fishing line. In my case, the sea is my studio and the fishing line is my instruments."

Bugger Off! picked up where its predecessor left off, and rampaged on from there. Covers of Zappa’s “Willy the Pimp” and the Kinks’ “You Really Got Me” might have seemed a little obvious, but both are battered down with such a glorious lack of finesse that it’s impossible to object — anybody familiar with, respectively, Juicy Lucy and the
Hammersmith Gorillas’ versions of the same songs will come in with at least a vague idea of what to expect, but that’s about it.

“Hoochie Coochie Man” is even more disheveled, and when John Peel’s liner notes reminisce on the group’s insistence on recording live, you can tell he’s not necessarily looking back with any fondness.
On one occasion, he suggested they do a little overdubbing.

The band’s response to his words would become the album’s title. Including “Mama Keep Your Big Mouth Shut” as bonus track taken from the 1972 John Peel Session.

Mixing the theatrical, the operatic and the ghoulish, Screamin’ Jay Hawkins was a one-off whose shocking stage tactics helped him find initially fame in the mid-1950s. Recorded in Nashville in 1973 and his sole offering for local label Hot Line, A Portrait Of A Man And His Woman is Hawkins at his most accessible; the title track’s haunting delivery and a remake of calling card ‘I’ve Put A Spell On You’ balanced by bright takes of ‘Itty Bitty Pretty One’ and Conway Twitty’s ‘It’s Only Make Believe,’ with plenty of grunts, shouts and animalistic interjections beneath Hawkins’ operatic and gospel-tinged vibrato. Hawkins fans, take note!

Given The Fall's penchant for iconoclasm, it's no surprise that they decided to say goodbye to the '70s with a series of gigs at Northern England's gruffest halls. The band's formidable live show was met with even more derision and disorder than customary during these late '79 and early '80 performances, and they skillfully amplified such sentiments back at the crowd. Totale's Turns, The Fall's first live album, was released on Rough Trade just prior to their pivotal third album, 1980's Grotesque. "The difference between you and us is that we have brains," shouts Mark E. Smith to open Totale's Turns as the band breaks into the rollicking "Fiery Jack," their latest single at the time. Each player is at their jagged best: Marc Riley and Craig Scanlon's splintering guitars, Steve Hanley's thunderous bass and Smith's combative sneer reverberate over "Rowche Rumble," "Choc-Stock" and "Spectre Vs. Rector" more than any studio would ever allow. Totale's Turns never panders to live-record conventions, serving instead as a gripping exhibit of The Fall en masse and arguably the most accurate document of the group to date. Superior Viaduct's edition is the first time that Totale's Turns has been available on vinyl domestically. Liner notes by Brian Turner.

First ever reissue of this excellent self-titled South African jazz album by Spirits Rejoice.
Check out tracks like 'Woza Uzo Kudanisa Nathi' or 'Papa's Funk' !

The 1970s is regarded as a period of experimentation, boundary-breaking and hybridization in modern music and this spirit certainly informed the mushrooming of ideas that occurred in South African jazz during this time. In the shadow of more commercial township jive and soul, South African jazz evolved on the fringe, nurtured by passionate and enterprising independent producers who courted the interest of the mainstream with enchanting concoctions of jazz with folk, rock, soul and funk.

With a lineup hailing from far flung regions of South Africa, the mercurial sound of Spirits Rejoice and its willingness to weave a patchwork of different influences into its recordings is not hard to account for. More difficult to reconcile is that the band didn’t manage to level up to the status enjoyed by its peers in larger music markets abroad. Nevertheless, Spirits Rejoice has maintained its revered status in the collective memory of South African jazz for over four decades and their recorded artifacts return in the 2020s with the group’s vitality and energy undiminished.

After briefly replacing Eric Clapton in John Mayall’s Bluesbreakers, guitarist/bassist Geoff Krivit formed Doctor K’s Blue Band with pianist Richard Kay and singer/harmonica player Mick Hasse, the lineup completed by bassist Harold Vickers, slide guitarist Roger Rolt and future Steve Hillage drummer Eric Peachey. Their self-titled debut had top-notch renditions of blues classics such as ‘I Can’t Lose,’ ‘Key To The Highway’ and ‘Pet Cream Man,’ as well as spirited originals such as ‘Strobe Lemming’s Lament’ and the piano stomp ‘Crippled Clarence,’ but the album failed to break through. Grab a copy of this rarity to be blown away!

In 1967, the English poet George Duffell, alias Jorgy Porgy, decided to set his verses to music, birthing J.P. Sunshine with guitarist/vocalist Rod Goodway of pop act the Pack (later with the Crazy World of Arthur Brown), the line-up expanding with a bassist and bongo player, Duffell’s girlfriend on percussion, and former Pack guitarist Andy Rickell on electric lead. These resultant recordings, cut on basic gear in Duffell’s flat, evidence an individual psychedelic sound, marked by the incestuous claustrophobia of the group’s romantic rivalries, the meandering lyrics and disjointed melodies pointing to the pervasive drug use that ultimately squashed the project. This is psych with a difference: rare, rough, and freaky!

After exiting Buster Summers Express, Leeds-based songwriter/multi-instrumentalist Derek Noy formed Jan Dukes De Grey with woodwinds player, Michael Bairstow, soon opening for Pink Floyd and the Who, though LPs Sorcerer and acid folk masterpiece Mice And Rats In The Loft sold poorly. After line-up changes, in 1977, Noy assembled a new crew for Strange Terrain, cut at Brittania Row with Roger Waters co-producing, but the album’s curious mix of post-prog, acid rock and punk was deemed unsuitable for release until 2010! This edition comprises the complete original LP, just as delivered at its time of recording. Essential!

Formed in 1971 by guitarist John Evan-Jones and his bassist brother Trevor, obscure British prog-rock act Jonesy had a shifting line-up and unusual elements, Chicago-born Jimmy Kaleth’s battery of keyboards including a Mellotron. Sophomore set Keeping Up saw Trevor return to the fold, along with drummer Plug Thomas, fresh from sessions with Supertramp; guitarist Ray Russell’s lush string arrangements and Alan Bown’s plaintive trumpet and flugelhorn add extra musical dimensions. Capturing the group at their most eclectic, Keeping Up is a must for Mellotron fans and all lovers of pop, jazz, and blues-tinged prog.

Repress!

The neo-soul movement of the late 1990s, which fused classic soul sounds with contemporary elements, heralded the arrival of some of the greatest R&B recordings of the decade. Albums like Lauryn Hill's The Miseducation Of Lauryn Hill, D'Angelo's Brown Sugar, and Maxwell's Urban Hang Suite were all born of this trend, while artists such as Mos Def, The Roots, and Common whole-heartedly embraced the sound, creating some of their most timeless material in the process.

These are some of neo-soul's great successes, but a slew of underground acts were what set the initial blueprint for their more pop-friendly acquaintances to follow. Acts such as R&B duo Groove Theory. The New York pair, consisting of singer/songwriter Amel Larrieux, and producer Bryce Wilson, (A veteran of the legendary 80's electronic group Mantronix) helped set the tone for neo-soul via their lone studio release, the self-titled Groove Theory.

The nearly hour-long record features 14 tracks of Wilson's smooth soul arrangements and atmospherics merged with golden era boom-bap beats, and Larrieux's siren-quality vocals, inspired equally by a combination of Native Tongues, peak Marvin Gaye, Joan Armatrading, Soul II Soul, as well as elements of breakbeat, jazz fusion, and even trip hop. It's a definitive, but often overlooked classic of the 1990s, which helped expand contemporary R&B's sound, render Billboard hits out the tracks "Tell Me", "Keep Tryin'", and "Baby Luv", and even found the time for a Todd Rundgren cover.

On the cusp of Groove Theory's 25th anniversary, Get On Down is proud to bring you this vinyl reissue of an underrated 90s gem. The original record has never been re-released on wax since it's 1995 debut, but is now presented here with fully remastered audio, and bundled in a full-color insert sleeve with complete lyrics and liner notes.

Repressed for the first time in 2 years, Note price change. Sermonizing Black Nationalism, Pan-Africanism and the benefits of a healthy and just lifestyle during the height of the Bad Boy/Roc-AFella era of nihilistic excess in the late 90's, Dead Prez also signed to a major label (Loud/Columbia) despite leaning much more towards the burgeoning indie aesthetics of the day. But this was a good thing – using major label muscle to wake up righteous hip-hop fans who might have fallen asleep at the wheel. The group itself – consisting of MCs stic.man and M-1, who produced or co-produced most of the duo’s music – was formed in Tallahassee, Florida in the early 1990's.

By later that decade, the duo had started making significant waves, having their music heard on the soundtracks to “Soul In The Hole” and “Slam,” as well as appearing on albums by Big Pun and The Beatnuts. By 1998, they released their first official single, the serious, stark “Police State,” on Loud, appropriately brought to the label by Lord Jamar of Brand Nubian. After building a solid rep over the next two years with fiery live performances, in 2000 they unleashed their debut album, Let’s Get Free.

The album was a welcome return to provocative and often radically political rhetoric that hearkened back to hip-hop forebears including The Coup, Public Enemy and KRS-One (as well as poetic descendants like the Last Poets and Watts Prophets). Let’s Get Free was critically acclaimed and benefited from multiple singles, including the infectious, thick analog drive of “Hip-Hop” “It’s Bigger Than Hip-Hop,” with a remix co-produced by a young Kanye West; “Mind Sex” (with Abiodun Oyewole of the Last Poets); and the poignant “I’m An African.”

But the singles weren’t the only worthy songs, as just about every cut here has deeper meaning than most full albums by their early 2000's peers. Highlights: the thought-provoking, anti-drug album opener “Wolves”; “We Want Freedom” “They Schools” and “Propaganda” . All in all, this is one of the more underrated and possibly Top 5 fully-realized political hip-hop albums of all time.

“Memo PST was formed in 2022 by longtime associates Orville Neeley and Chris Shaw. “The band released a self recorded cassette demo and played a handful of shows in California before setting up shop at Discount Mirrors (the neighborhood studio owned by John Dwyer and Eric Bauer) to lay down an LP. “Recorded the first five days in May of 2023, the debut album from Memo PST features twelve blasts of raw and primitive Los Angeles punk rock, with Orville Neeley (Bad Sports, OBN IIIs) handling songwriting duties and Chris Shaw (Ex-Cult, Vile Nation) handling vocals and lyrics. “The debut long player from Memo PST is everything fans have come to expect from the two longtime fixtures in underground rock, but also features some of their most memorable songs yet, including ‘I Used To Be A Pretty Boy’ the debut single from the band that sold out in hours via record label In The Red. “The black and white album cover photo (taken behind the iconic rocker shop Worship) and the stark presentation that Memo PST has thus far deployed is a clear statement that this is punk made for punks, and the band has little to no regard for current trends created and championed by those less informed. “Written, recorded, and released in Los Angeles, this is the latest chapter in the LA transplants discography, and only the beginning of what we can expect to hear from the songwriting duo. “Rounding out the live lineup is life long Los Angeles punk Danny Clodfelter on bass and San Clemente surf punk Jackson Todd on drums. Crumple up your scribblings, this is Memo PST.”

“Joe McPhee’s first international release, Black Magic Man, was issued on the newly formed Hat Hut imprint in 1975. It was a watershed moment for the 35-year-old musician. Based in Poughkeepsie, New York, he was too far away from Manhattan to have participated extensively in the Loft Jazz happenings of the decade. European exposure, however, would give McPhee an alternative circuit, something of an escape route from the trappings of American cultural myopia. “In support of the new record for this Swiss label, McPhee invited John Snyder on a European tour in October 1975. Snyder was a synthesizer player with whom McPhee had made the duet LP Pieces Of Light, released a year earlier on CjR. The two musicians developed an extensive repertoire, playing diverse spaces in the Hudson Valley. Geographically close gigs were a plus, since it took extra energy to hoist Snyder’s ARP 2600. “McPhee and Snyder were invited to play at the Willisau Jazz Festival in Switzerland. If you compare this live record with Pieces Of Light, a studio effort, it’s considerably more open. South African drummer Makaya Ntshoko is rolling thunder on the choral ‘Voices,’ shuffling under Snyder’s bubbly beat on ‘Bahamian Folksong.’ It is quite a special combination, enough so that Hat Hut chose to release it as their next LP, Hat Hut B in their alphabetical series. The Willisau Concert represents the sound of Joe McPhee opening up, opening out, expanding his field of operations to include new figures, fresh experiences, new continents of sound.” —John Corbett (excerpt from the liner notes)

Old Saw, the enigmatic New England collective led by Henry Birdsey (Tongue Depressor), return with their third long-playing record, Dissection Maps. It is not enough to trace the fields. The choreo-cartographic demands the casting of stone, a grassfire, a carnival; something with which to rupture the horizontality of existence and imagine the vertical. Earth is the eighth morning, folded against the week's work. The field is a line drawing of oblivion. The house is a forest in the shape of a womb. America is a quarry in the image of god. (Aidan Patrick Welby – 2024) “The band captures the American stretch, the spaces in-between and the hollowness that haunts us along those routes…fades the radio to static to let the nothingness linger among the soul.” (Raven Sings the Blues) “evokes an ambience of prayer-like solemnity that celebrates something decidedly terrestrial, what the label describes as “a rusted and granular shadow world where the dive bar meets the divine.” It recalls one of those junkyard shrines built by some sincere eccentric, improbably wonderful forms of weathered stone and scrap metal standing like totems to an unrecognised religion rooted in the earth around us.” (Various Small Flames)