There wasn’t anything quite like Savage Republic’s Tragic Figures at the time of its 1982 release.

Well before the massive 1977 album Bat Out of Hell firmly established Meat Loaf’s career (with over 40 million copies sold worldwide), he and singer Shaun “Stoney” Murphy were spotted in a 1970 Detroit production of Hair and signed as a duo to Motown imprint Rare Earth Records.

On “Number One Fan,” the lead single to MUNA’s 2019 album, Saves the World, lead vocalist and songwriter Katie Gavin sings, “So I heard the bad news/Nobody likes me and I’m gonna die alone/In my bedroom.”

Over the past four years, Soccer Mommy bandleader Sophie Allison has ascended from the world of sparse and scratchy Bandcamp releases into an indie rock forerunner, marrying some of the genre’s most desolate lyrcisim with a bold melodic ear born from turn-of-the-millennium pop.

Forty-five years ago, it just wasn’t in the cards for Melissa Manchester’s live album to be released.

They say that you should avoid politics on a first date. Personally, I’d like to know if my prospective partner is a member of the alt-right before taking things further. Flasher agrees.

For this live album, recorded in 2019, Graham Nash and his seven-piece band performed Nash’s first two solo albums in their entirety: 1971’s Songs for Beginners and ’74’s Wild Tales.

By 1975, a thin white David Bowie was busy crooning plastic soul tunes to young Americans, Marc Bolan had since vanished behind the cutout of Zinc Alloy, Iggy Pop was spiraling into a manic dope haze (but not before having recorded Raw Power, his finest album), and Lou Reed was busy pissing the world off with Metal Machine Music.

For Mike Hadreas, also known as Perfume Genius, every new album acts as a sort of sonic transformation. Few artists have evolved more artistically while maintaining such a high level of consistency and intrigue.