Back in 2018, Kaia Kater‘s third album Grenades sent a ripple through the folk and roots music world, earning her Polaris and Juno nominations and helping to reinvigorate the mesmerizing quality of banjo-focused music. The album was raw and stripped back, employing a more traditional western folk style for Kater to sing about her Caribbean heritage and her father’s struggles as a young political refugee.
Now, six years later, Kater is back with Strange Medicine, which feels more like a cinematic odyssey than a straight folk album. The songs on Strange Medicine feel fully realized, featuring strings, melancholic horns, R&B synth work, frenetic jazz drumming and of course, some expert banjo playing from Kater. Kater’s vocals…
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…The digital deluxe version adds 5 exclusive acoustic tracks.
When the speakers are throbbing and rattling, spitting a filthy squeal, threatening to split open-do you bolt out of the room or step closer? If you ever attend a Gilla Band show, you will know instantly which their fans prefer. Discomfort is the baseline goal for a band that weaponizes its instruments to such earsplitting magnitudes that they rarely resemble the tried tools of rock music: guitar, bass, drums. “The trick,” bassist Daniel Fox said in a recent interview with Pitchfork, “is to be louder than everyone else.” This is a wild but typical understatement from the humble Irish quartet, which also comprises vocalist Dara Kiely, guitarist Alan Duggan Borges, and drummer Adam Faulkner. Volume-blown out to extremes or dampened before a deafening blast…
Megiapa’s nutritive first album for Chicago’s International Anthem label would have made equal sense on progressive Los Angeles imprints such as Stones Throw and Brainfeeder. In a way, the Midwest native, who writes, arranges, and produces her material, is a child of the L.A. beat scene that gave rise to the likes of Georgia Anne Muldrow and Flying Lotus. Although she established herself in the Windy City while building up a considerable catalog of self-released material over the course of a decade, Megiapa has been in L.A. since 2023, allying with a host of players, many of whom joined her in the making of 
Oren Ambarchi’s 
Even some of the most obscure musical movements have their lesser-known players. One such example is the incredibly unseen group the Catburgers, a band from Edinburgh, Scotland who existed in the margins of the C-86 scene during the late ’80s, playing sparingly and recording a few times without ever officially releasing any music in their time. 
Continuing the series of archival live albums documenting German experimental rock legends Can at their mid-’70s creative peak, 
In the period following the release of her third album, 
Titled simply 3, 
This expanded edition features six new recordings in total: four previously unreleased songs along with acoustic versions of two fan favorites from ‘Hen’s Teeth’.
1974-1977 brings together five CDs absolutely bursting with music covering the most overlooked, but arguably most pioneering, period of Marc Bolan’s glittering career. It rounds up the final three T. Rex studio albums – Bolan’s Zip Gun, Futuristic Dragon and Dandy in the Underworld – and a string of 10 peerless late-period singles (and B-sides) that included ‘New York City’, ‘Dreamy Lady’, ‘The Soul of My Suit’, and of course ‘I Love to Boogie’. Throughout the journey Marc’s restless muse and creative spark encompasses soul and R&B (‘Ride My Wheels’, ‘Dreamy Lady’), excursions into proto-glam metal (‘Zip Gun Boogie’, ‘The London Boys’) and nervy, spiky-sharp tracks (‘Think Zinc’, ‘Celebrate Summer’) that nod towards the punk explosion happening…
One aspect of the obsessive fascination surrounding Joy Division is the scarcity of their music. Though they were technically active under different band names as early as 1976, the finalized lineup of the group played under the name Joy Division for less than three years, becoming one of the most influential and game-changing entities to ever shift the tides with just two studio albums. In this brief time, the band played somewhere in the neighborhood of 120 or so live shows, which have also played into their legacy. Innumerable bootleg recordings and a smattering of above-board releases have cobbled together as much footage as possible of the band’s extremely limited time on stages, hoping to uncover a better picture of what made them so important.
Peter Hammill has never been an artist interested in taking the easy route. Whether through Van der Graaf Generator or his extensive solo catalogue, his music consistently occupies a space where beauty, tension, introspection and unease exist side by side. 
Tom Morello returns with his first solo rock album, 
A tenth album often serves as a way of resetting the clock, rediscovering something that has been misplaced or set aside, slowing down, reconnecting with ways of working that were there from the very beginning but may have gradually faded into the background over the years.
Even though Orbital had hit the Top 40 of the British singles chart several times by the time they took the stage at the