More Than 100 Million Women Are Missing

Preoccupations is a Canadian post-punk band from Calgary, Alberta, formed in 2012 under the name Viet Cong. The band consists of Matt Flegel (vocals, bass), Scott Munro (guitar, synth), Daniel Christiansen (guitar) and Mike Wallace (drums). The group's musical style has been described as "labyrinthine post-punk".

At a time when pop was dominated by dance music and pop-metal, Guns N' Roses brought raw, ugly rock & roll crashing back into the charts. They were not nice boys; nice boys don't play rock & roll. They were ugly, misogynistic, and violent; they were also funny, vulnerable, and occasionally sensitive, as their breakthrough hit, "Sweet Child O' Mine," showed. While Slash and Izzy Stradlin ferociously spit out dueling guitar riffs worthy of Aerosmith or the Stones, Axl Rose screeched out his tales of sex, drugs, and apathy in the big city…

Like Omigod! The 80s Pop Culture Box (Totally) is a seven-disc, 142-track box set of popular music hits of the 1980s. Released by Rhino Records in 2002, the box set was based on the success of Have a Nice Decade: The 70s Pop Culture Box, Rhino's box set covering the 1970s. Like Omigod! includes a 90-page booklet of cultural comment, a timeline for the decade, and liner notes for the tracks included in the set. As does Have a Nice Decade, the tracks tend to be from the lesser-known artists who were one-hit wonders, although music from the best-selling artists of the era are also included. In addition, many of the 1980s musical styles — rock, pop, country pop, new wave, funk, disco and rhythm and blues — are represented.

The Easybeats - The Complete Easybeats (2017) {6CD Set, BMG AM Pty Limited 538320752 rec 1965-1968}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.85 Gb | MP3 @320 -> 863 Mb
Full Artwork @ 300 dpi (jpg) -> 72 Mb | 5% repair rar
© 1965-68, 2017 BMG AM Pty Limited | 538320752
Rock / Rock & Roll / Beat / British Invasion

The Complete Easybeats from the Australian-based Albert Productions – the company to which the Easybeats were originally signed – is what it says, all of the group's authorized masters and all but a tiny handful of known outtakes, from their first Australian Parlophone sides to their last post-"Friday on My Mind" follow-ups, assembled on six CDs in a slipcase. Each of the discs is identical in title, packaging, and song content to the individual Repertoire Records reissues of the group's catalog from the early '90s, and what's more, so far as this writer can tell, the discs use the same early-'90s masters that were the sources for the Repertoire CDs.

A Woman a Man Walked By arrived just a year and a half after PJ Harvey's equally difficult and brilliant White Chalk. That alone makes it notable, since the last time she released albums in such quick succession was the early to mid-'90s, around the same time of her last songwriting collaboration with John Parish, Dance Hall at Louse Point. That album's unbridled experiments provided a sharp contrast to the subversive polish of its predecessor, To Bring You My Love; while A Woman a Man Walked By isn't quite as overt an about-face from White Chalk, the difference is still distinct. Here, Harvey and Parish (who played on and co-produced White Chalk) trade sublime, sustained eeriness for freewheeling vignettes that cover a wider range of sounds and moods than her music has in years.

Kesha’s third album, 2017’s Rainbow, came with more baggage than any pop album should be asked to carry. Her first project since her high-profile lawsuit against former collaborator Dr. Luke and its subsequent legal and label entanglements, it was heralded on arrival as a bold and cathartic statement of intent, but wasn’t necessarily the good-time dance-pop she’d made her name on. Three years later, the 15 cheeky, genre-hopping songs that make up High Road are about—and the results of—having a lot of that weight lifted. “I just tried to make it as low-pressure as possible because I feel like my whole career has been this race against time,” she tells Apple Music. “And on this album, I didn't know exactly what I wanted to make—exactly what genre, exactly what sound—and I wanted to not put a time on it and just see what would happen if I allowed that for myself.”