Since the late 1970’s, Laraaji has developed a small but devoted peaceful global following while exploring creative cosmic expressions through ambient musical tones using open-tuned electric zither/harp. Most notably through his collaborations with ambient pioneer/innovator Brian Eno.

For a group drawing from diverse influences and determined to base records around different ideas, there’s a remarkable consistency to The Go! Team’s output.

It’s kind of shocking given this 1986 album’s well-deserved status as one of the finest heavy metal albums ever, that until this reissue none of Metallica’s classic albums have received the deluxe reissue treatment before.

Following several other posthumously released box sets (most notably, Who Can I Be Now?, which covers the period between 1974 and 1976), this comprehensive, 11-disc set covers his greatest era, namely the one between 1977 and 1982.

Not long before Sonic Youth deconstructed the entirety of Western music, This Heat decimated the pop song structure like scissors shredding paper into hundreds of little pieces that scattered in every possible direction.

There’s something unceremonious about releasing a three-song EP as your last recording. Yet in a way, the songs on Wild Beasts’ Punk Drunk and Trembling can be received as a final artistic statement in keeping with what has made them a band refreshingly elusive from containment stylistically.

When most fans think of The Jam’s best records, 1978’s All Mod Cons, 1979’s Setting Sons, and 1980’s Sound Affects are the ones mentioned (and with good reason). They are all classics, but because of their stature, their first two albums are often given short shrift even by big fans.

In 1997, there were three monumental British albums that caught the imagination of fans on both sides of the Atlantic. While Radiohead (on their way to becoming one of the world’s biggest bands) released the career-making OK Computer and Spiritualized put out the groundbreaking Ladies and Gentlemen We Are Floating in Space, The Verve took angsty lyrics, their own much improved songwriting from Richard Ashcroft, and Funkadelic/CAN-like fuzz and repetition to the top of the U.K. charts and made a significant dent in the American charts as well on the back of songs like “Bitter Sweet Symphony.”

Posthumous albums often come with the expectation that the artist had a last statement planned and are often prone to such interpretations. In reality, though, efforts like David Bowie’s Blackstar (released a few days before he passed away last year at the age of 69) are not the norm in this category.