Category: news

“The Life of a Showgirl: The Encore,” featuring four new songs, will release on Friday.

Posted on September 23rd 2026, 2:30pm

A Circuit Court judge in Montgomery County, Maryland has ruled that founding Turnstile guitarist Brady Ebert is not competent to face trial on his attempted murder charges. In April, the 34-year-old Ebert was charged with using his car to intentionally run over William Yates, the 79-year-old father of Turnstile frontman Brendan Yates. Earlier this month, Circuit Judge Eric Johnson ordered a competency evaluation to determine whether he could properly understand the charges against him and assist in his own defense. On Tuesday, Circuit Judge Karla Smith ruled that Ebert is mentally incompetent and a danger to himself and others.

The post Ex-Turnstile Guitarist Brady Ebert Deemed Incompetent To Stand Trial For Attempted Murder appeared first on Stereogum.

Some of these deathcore pioneers are putting out their best work over two decades later! Continue reading…

King Buffalo will release Doomsayer, the Rochester-based band’s seventh album, on 4 December 2026 via King Buffalo in North America and Stickman Records in the UK and Europe. The band recently hit Number 15 on MetalTalk’s 50 Essential Stoner and Doom Albums list with Acheron.

A preview of the seven-song album arrives with the release of The Slick And The Dead.

“Doomsayer originated in early 2026 out of many hours of jam sessions in our new studio space, playing around and seeing where it took us,” Guitarist/vocalist Sean Roa, who also produced and mixed the album, said. “We didn’t really have an end goal in mind of what we were going for. We were simply exploring ideas and seeing what ended up speaking to us the most.

“So much has happened, both as a band and in our personal lives since our last record, that ended up becoming the inspiration to many of the lyrics on Doomsayer. I think as a result, this is some of our most upfront, direct and riff-driven work to date. We are incredibly proud of it and can’t wait for it to get out into the world.”

Four years on from Regenerator, King Buffalo return with a record shaped by years of international touring and a deepening confidence in their own sound. Recorded in the new studio the band built themselves, Doomsayer finds the trio continuing to reach into the unknown while bringing a greater sense of focus and intention to their sound.

The experience they have gained on the road is evident throughout the album, both in the poise of the material and the confidence of their delivery. Like the pandemic trilogy that preceded it, Doomsayer was made at home, but the band’s new surroundings gave them the freedom to continue exploring and finding new ground.

Album pre-orders begin Friday, September 25 at 12 noon Eastern via kingbuffalo.com. Fifty test pressings of the 43-plus-minute collection will be available, as well as a Deluxe Edition limited to 750 copies on translucent emerald vinyl, including a hand-numbered insert, download code and polybag. The standard edition, limited to 1,750 copies, arrives on purple opaque vinyl and includes a download code and polybag.

King Buffalo previously announced a North American tour beginning October 29 in Boulder, with support from L.A. Witch from October 29 to November 21 except Los Angeles, Doom Gong on December 3-5 and December 18, and Handsome Jack on December 8-12.

A European tour has also been announced for March 2027, with Spirit Mother opening on all dates. The EU/UK leg goes on sale Friday at 10am local time. Ticket links are available at kingbuffalo.com/tour.

North American tour 2026

October 29 – Boulder, CO – Fox Theatre
October 30 – Denver, CO – Bluebird Theatre
October 31 – Salt Lake City, UT – Urban Lounge
November 2 – Portland, OR – Aladdin Theatre
November 3 – Vancouver, BC – The Pearl
November 4 – Seattle, WA – Neumo’s
November 6 – San Francisco, CA – The Independent
November 7 – Los Angeles, CA – Lodge Room
November 9 – Solana Beach, CA – Belly Up
November 10 – Phoenix, AZ – Crescent Ballroom
November 11 – Albuquerque, NM – Sister
November 13 – Dallas, TX – AM/FM
November 14 – Austin, TX – Mohawk
November 17 – Houston, TX – Bad Astronaut
November 19 – Nashville, TN – Basement East
November 20 – Asheville, NC – The Grey Eagle
November 21 – Cincinnati, OH – Woodward Theatre
December 3 – Detroit, MI – El Club
December 4 – Chicago, IL – Thalia Hall
December 5 – Cleveland, OH – The Roxy
December 8 – Toronto, ON – The Mod Club
December 9 – Montreal, QC – Theatre Fairmount
December 10 – Boston, MA – Brighton Music Hall
December 11 – New York, NY – Le Poisson Rouge
December 12 – Philadelphia, PA – Underground Arts
December 15 – Richmond, VA – The Broadberry
December 16 – Durham, NC – Motorco
December 17 – Washington, DC – Black Cat
December 18 – Columbus, OH – Skully’s

European tour 2027

March 2 – Hamburg, DE – Grunspan
March 3 – Antwerp, BE – Trix
March 4 – Haarlem, NL – Patronaat
March 6 – London, UK – Scala
March 7 – Manchester, UK – Gorilla
March 9 – Bristol, UK – Electric Bristol
March 11 – Paris, FR – Petit Bain
March 12 – Essen, DE – Zeche Carl
March 13 – Cologne, DE – Kantine
March 14 – Stuttgart, DE – Wizeman
March 15 – Munich, DE – Backstage Halle
March 17 – Berlin, DE – Festsaal
March 19 – Copenhagen, DK – Pumpehuset
March 20 – Gothenburg, SE – Monument
March 21 – Oslo, NO – John Dee
March 22 – Stockholm, SE – Debaser Nova

Doomsayer tracklisting

1. Battling The Mystagogues
2. The Slick And The Dead
3. Vagabond
4. Hell Or High Water
5. Into The Foundry
6. Ether On The Dark Side
7. Doomsayer

The post King Buffalo Announce Doomsayer Album And Share ‘The Slick And The Dead’ first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Mason Hill will release their new album, World So Wonderful, through 7Hz Productions on 23 October 2026. Recorded with producer Dan Weller, the album is available to preorder now. The Scottish Rock band have also announced a seven-date UK tour for November, including a sold-out Glasgow show supporting Skindred.

“A couple of years ago this album seemed like it would be an impossible task,” bassist Matthew Ward said. “To be sitting here, finally launching the preorder feels like we just climbed Everest and made it to the top.

“This album is the next step in the evolution of Mason Hill. It’s more fierce, more refined and hungrier than ever. This one is for everyone who kept believing in Mason Hill. I can’t wait for everyone to get their hands on it.”

Vocalist Tom Ward said the band had poured its heart into the record and described the result as “a new and revitalised Mason Hill”.

“Whether you’re a long-term fan or recently converted, there is honestly something for everyone on this album, with riffs so crunchy you’ll need a neck brace after your first listen,” he said.

“Coming into this as a newcomer, working with Dan Weller was an amazing experience. He really helped me unlock my own style and take a new approach to writing, which I’m forever grateful for.”

The album follows a turbulent decade for Mason Hill, including delayed releases, difficult record deals and the departure of former vocalist Scott Taylor in late 2023.

There have been times over the years when we weren’t even sure we’d be able to keep on being a band,” guitarist James Bird said. “But there’s a stubbornness, determination and passion in us that has kept us going.

“The new music was obviously still Mason Hill, but we didn’t want it to be a copy of the first album. This is who we are now. This is Mason Hill.”

You can pre-order World So Wonderful here. Tickets and further information is available from here.

Mason Hill November 2026 UK Tour

The post Mason Hill Announce World So Wonderful Album And November UK Tour first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Oasis have added four new shows to their Live ’27 tour plans.

Last week, the Manchester band announced 38 dates for their second reunion tour, which is scheduled to run from late May to mid-September, kicking off at Celtic Park in Glasgow on May 21.

Due to “phenomenal demand” the tour will now expand to 42 shows, with the Gallagher brothers’ band booking two additional nights at Knebworth (September 25, 26), a third night at Munich’s Allianz Arena (July 6) and a third night at Rome’s Stadio Olimpico (July 26)

The tour’s promoters have also confirmed that the band’s previously announced July 24 show at the Stade de France in Paris has now been re-scheduled to take place on July 20, for logistical reasons.

When the first set of dates were revealed on September 14, the group issued a statement saying:

“START THE CELEBRATIONS!!!!

After a period of reflection ‘The Most Damaging Pop Cultural Force In Recent British History’ has declared itself fit for purpose and will once again return to lift the spirits of the people.

Come witness the fitness.

It shall be a sight to behold.”

A post shared by Oasis (@oasis)

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Oasis Live ’27 world tour dates

May 21: Glasgow Celtic Park, UK
May 23: Glasgow Celtic Park, UK
May 25: Glasgow Celtic Park, UK
May 28: Glasgow Celtic Park, UK
May 29: Glasgow Celtic Park, UK

Jun 04: Manchester Etihad Stadium, UK
Jun 06: Manchester Etihad Stadium, UK
Jun 08: Manchester Etihad Stadium, UK
Jun 11: Manchester Etihad Stadium, UK
Jun 12: Manchester Etihad Stadium, UK
Jun 15: Manchester Etihad Stadium, UK
Jun 18: Manchester Etihad Stadium, UK
Jun 19: Manchester Etihad Stadium, UK
Jun 22: Manchester Etihad Stadium, UK
Jun 25: Manchester Etihad Stadium, UK
Jun 26: Manchester Etihad Stadium, UK

Jul 02: Munich Allianz Arena, GER
Jul 03: Munich Allianz Arena, GER
Jul 06: Munich Allianz Arena, GER
Jul 10: Barcelona Estadi Olímpic Lluís Companys, SPA
Jul 11: Barcelona Estadi Olímpic Lluís Companys, SPA
Jul 16: Amsterdam Johan Cruijff ArenA, HOL
Jul 17: Amsterdam Johan Cruijff ArenA, HOL
Jul 20: Paris Stade de France, FRA
Jul 24: Paris Stade de France, FRA
Jul 26: Rome Stadio Olimpico, ITA
Jul 29: Rome Stadio Olimpico, ITA
Jul 30: Rome Stadio Olimpico, ITA

Aug 10: Boston Gillette Stadium, US
Aug 13: Boston Gillette Stadium, US
Aug 14: Boston Gillette Stadium, US
Aug 20: Las Vega Allegiant Stadium, US
Aug 21: Las Vegas Allegiant Stadium, US
Aug 24: Las Vegas Allegiant Stadium, US

Sep 04: Slane Castle, IRE
Sep 05: Slane Castle, IRE
Sep 11: Knebworth, UK
Sep 12: Knebworth, UK
Sep 18: Knebworth, UK
Sep 19: Knebworth, UK
Sep 25: Knebworth, UK
Sep 26: Knebworth, UK

With demand for the Oasis Live ’27 shows expected to be extremely high, a registration process was put in place to reduce queuing times and organised ticket touting in order to give genuine fans the best possible chance to buy tickets. That registration window is now closed.

Successful applicants will be sent a unique, non-transferable code to access an allocated onsale window.

Fans will be informed which of the onsale windows they will be given access to, and at what time. There will be general onsale.

Oasis’ 2025 reunion tour was a huge success, with the group selling 2,228,471 tickers across 36 shows.

He was required to complete one final step before launching another band. Months later, the deadline has arrived. Continue reading…

The 1970s were a golden era for blues rock. Building on the British blues explosion of the previous decade, musicians pushed the genre in new directions, combining the emotional intensity of traditional blues with heavier guitar tones, extended improvisation, and the growing influence of hard rock.

The music wasn’t limited to one approach. Some bands relied on infectious riffs and straightforward arrangements, while others stretched songs into extended instrumental performances. The common thread was an appreciation for the blues and an understanding that great music requires more than technical ability.

Here are ten unforgettable blues rock songs of the 1970s.

Free – “All Right Now”

Few songs capture the spirit of early 1970s blues rock quite like Free’s “All Right Now.” Released on the band’s third studio album, Fire and Water, the recording became an international breakthrough and helped establish Free as one of Britain’s most exciting young rock groups. More than half a century later, its opening guitar riff remains instantly recognizable.

Guitarist Paul Kossoff was central to Free’s sound, and “All Right Now” demonstrates why he remains so highly regarded. Rather than filling every available space with guitar notes, Kossoff understood the importance of restraint. His playing is economical, allowing the song’s groove and Paul Rodgers’ vocals to carry much of the performance. When Kossoff does step forward, his distinctive vibrato and expressive phrasing make every note count.

Rodgers was still remarkably young when Free began attracting international attention, yet his voice already possessed the authority and emotional depth of a seasoned blues singer. His performance on “All Right Now” is confident without sounding forced, moving effortlessly between the verses and the song’s explosive chorus. Andy Fraser’s bass playing and Simon Kirke’s drumming provide a rhythmic foundation that gives the recording its unmistakable swagger.

Although Free would disband in 1973, “All Right Now” remains one of the defining achievements of the original British blues rock movement. It also serves as a reminder that some of the most memorable guitar performances are built around knowing when not to play.

Freddie King – “Going Down”

Freddie King was already an established blues musician when he recorded “Going Down” for his 1971 album Getting Ready…, but the song introduced another dimension to his extraordinary guitar playing. With its thunderous opening riff, aggressive rhythm, and King’s commanding vocals, the recording helped bridge the gap between traditional electric blues and the heavier blues rock sound emerging during the early 1970s.

Written by Don Nix, “Going Down” had previously been recorded by other artists, but King’s interpretation became one of the song’s defining versions. His guitar playing is ferocious without sacrificing the expressive qualities that made him such an influential blues musician. Every bend, vibrato, and sharply articulated phrase sounds deliberate. King could play with tremendous speed when necessary, but his greatest strength was his ability to make a guitar sound like an extension of his voice.

The recording also benefits from its production and supporting musicians. The rhythm section provides a muscular foundation, while the arrangement allows King’s guitar to dominate without overwhelming the song. Unlike some extended blues rock performances of the period, “Going Down” wastes very little time. The opening riff establishes the mood immediately, and the intensity rarely lets up.

The Allman Brothers Band – “Statesboro Blues”

The Allman Brothers Band helped transform blues rock during the early 1970s by combining traditional blues with jazz improvisation, country influences, and the musical traditions of the American South. Their version of Blind Willie McTell’s “Statesboro Blues,” released on the landmark live album At Fillmore East, remains one of the most electrifying examples of that approach.

Duane Allman’s slide guitar introduction is among the most recognizable openings in blues rock history. His playing has a vocal quality, bending and sustaining notes in a way that makes the instrument sound almost human. Dickey Betts provides an equally important contribution, complementing Allman’s slide work with fluid guitar lines and a strong understanding of the song’s blues foundation. Behind them, Berry Oakley, Butch Trucks, and Jaimoe create a rhythmic foundation that allows the music to breathe while maintaining its forward momentum.

Gregg Allman’s vocals bring another dimension to the performance. His weathered delivery sounds remarkably mature for someone in his early twenties, capturing the spirit of the original blues without attempting to imitate it. The recording also illustrates why the Allman Brothers Band became such a formidable live act. Their musicianship was impressive, but the real magic came from the way six musicians interacted with one another.

“Statesboro Blues” is more than a memorable cover. It demonstrates how an older blues composition could become something entirely new in the hands of the right band. For anyone interested in understanding why Duane Allman remains one of the most revered guitarists in rock history, this is an essential starting point.

Rory Gallagher – “Bad Penny”

By the time Rory Gallagher released “Bad Penny” on his 1979 album, Top Priority, the Irish guitarist had spent nearly a decade establishing himself as one of the most respected musicians in blues rock. His relentless touring schedule, explosive live performances, and refusal to compromise his musical identity had earned him a devoted international following. “Bad Penny” captures Gallagher’s ability to combine the raw energy of hard rock with the expressive guitar playing that defined his career.

The song opens with a memorable guitar riff that immediately establishes its driving rhythm. Gallagher’s gritty vocals are perfectly suited to the material, delivering the lyrics with a mixture of frustration and defiance. The recording has a heavier edge than much of his earlier work, reflecting the harder sound he pursued toward the end of the decade. However, his blues influences remain unmistakable, particularly in the phrasing and intensity of his guitar playing.

Gallagher’s guitar solo is a highlight, combining fluid runs, aggressive bends, and his distinctive vibrato. What makes his playing so compelling is the sense of urgency behind every phrase. Even when demonstrating considerable technical ability, Gallagher never loses sight of the song itself. Bassist Gerry McAvoy and drummer Ted McKenna provide a powerful rhythmic foundation, giving the recording the momentum and energy that made Gallagher’s live performances so memorable.

“Bad Penny” has become one of Gallagher’s most enduring recordings and a favorite among his fans. It represents a musician who spent the 1970s following his own path, building a remarkable body of work without chasing commercial trends. For listeners discovering Gallagher for the first time, the song offers an excellent introduction to his extraordinary guitar playing and uncompromising approach to blues rock.

ZZ Top – “La Grange”

Before ZZ Top became international superstars through MTV and their 1980s recordings, the Texas trio had already established themselves as masters of stripped-down blues rock. Their third studio album, Tres Hombres, released in 1973, helped introduce the band to a much larger audience. Its most recognizable recording, “La Grange,” remains a defining example of the band’s early sound.

Built around Billy Gibbons’ unmistakable guitar riff, “La Grange” draws heavily from the rhythmic traditions of electric blues. Its connection to John Lee Hooker’s boogie style is immediately apparent, but ZZ Top transform those influences into something distinctly their own. Gibbons’ guitar tone is gritty and aggressive, while Dusty Hill’s bass and Frank Beard’s drums create a groove that never loses its momentum.

Gibbons delivers one of the most recognizable guitar performances of the decade, demonstrating how a relatively simple blues-based riff can become unforgettable through tone, timing, and attitude.

There is something almost hypnotic about the way “La Grange” develops. The opening establishes a relaxed groove before the band shifts into a heavier arrangement, giving Gibbons room to unleash a blistering guitar solo. Despite the song’s enormous popularity, it still sounds remarkably raw compared to the polished rock recordings that would dominate the following decade.

Robin Trower – “Bridge of Sighs”

Robin Trower’s departure from Procol Harum allowed him to pursue a heavier, guitar-centered sound that would establish him as one of the defining blues rock musicians of the 1970s. His second solo album, Bridge of Sighs, became a landmark recording, and its title track remains one of the most atmospheric guitar performances of the decade.

“Bridge of Sighs” is built around a slow, hypnotic groove that creates an almost otherworldly atmosphere. Trower’s guitar tone is thick and expressive, with sustained notes that seem to hang in the air. His playing reflects the influence of Jimi Hendrix, particularly in his use of distortion, vibrato, and psychedelic textures, but Trower developed a recognizable voice of his own.

Vocalist and bassist James Dewar deserves equal recognition for his contribution. His soulful delivery provides an emotional center to the recording, complementing Trower’s guitar without competing for attention. Drummer Reg Isidore completes the trio, supplying a restrained but powerful rhythmic foundation.

What makes “Bridge of Sighs” so memorable is its atmosphere. The recording never feels rushed, allowing the listener to become absorbed in the music. Trower demonstrates that blues rock can be heavy without relying on speed, and emotionally intense without becoming excessive. Its unforgettable guitar tone and haunting arrangement have helped make it a favorite among generations of guitar players.

Savoy Brown – “Hellbound Train”

Savoy Brown were among the pioneering British blues rock bands of the late 1960s and early 1970s, helping introduce American blues traditions to a new generation of listeners. Led by guitarist Kim Simmonds, the group underwent numerous lineup changes throughout its career, but its commitment to blues-based music remained constant. “Hellbound Train,” the title track from the band’s 1972 album, stands among their most ambitious and memorable recordings.

Clocking in at more than nine minutes, “Hellbound Train” takes listeners on a musical journey that gradually builds in intensity. The song begins with a restrained, almost hypnotic groove before developing into a powerful blues rock performance. Simmonds’ guitar playing is central to the arrangement, moving between understated blues phrases and increasingly aggressive passages as the music gathers momentum.

The recording demonstrates how adventurous blues rock could become during the early 1970s. Savoy Brown never achieved the same mainstream recognition as some of their British contemporaries, but their influence on the genre was substantial. “Hellbound Train” remains a favorite among dedicated blues rock listeners and an outstanding example of the band’s ability to combine traditional blues influences with the heavier, more experimental sounds of the era.

Foghat – “Slow Ride”

Few recordings capture the pleasure of a heavy blues rock groove as effectively as Foghat’s “Slow Ride.” Released on the band’s 1975 album, Fool for the City, the song became their signature recording and one of the most enduring rock radio staples of the decade.

Several members of Foghat had previously played with Savoy Brown, and that background is evident in the group’s approach. “Slow Ride” is built around a repetitive, blues-based guitar riff that gradually develops into a larger arrangement. Dave Peverett’s vocals bring a rough-edged confidence to the performance, while Rod Price’s guitar playing supplies much of its character. Price was particularly admired for his slide guitar work, and his contributions helped distinguish Foghat from other hard rock bands of the period.

The song’s extended album version gives the musicians room to explore the groove, incorporating instrumental passages that emphasize the band’s chemistry. Bassist Nick Jameson and drummer Roger Earl maintain a steady rhythmic foundation, allowing the guitars to move between tightly structured riffs and more spontaneous playing.

What makes “Slow Ride” unforgettable is its combination of simplicity and momentum. The central musical idea is immediately recognizable, but the performance continues developing long after the opening riff. It is the kind of recording that sounds particularly satisfying at high volume, capturing the energy of a band that understood how to translate traditional blues influences into arena-sized rock music.

Derek and the Dominos – “Layla”

Few songs in blues rock history carry the emotional weight of Derek and the Dominos’ “Layla.” Released on the band’s 1970 album, Layla and Other Assorted Love Songs, the recording brought together Eric Clapton and Duane Allman for one of the most celebrated guitar collaborations in rock history. What emerged was a song that combined the intensity of electric blues with the emotional turmoil of unrequited love.

Clapton wrote “Layla” during his infatuation with Pattie Boyd, who was married to his friend George Harrison at the time. That personal anguish became the foundation for a performance filled with desperation and urgency. From its opening guitar riff, the recording demands attention. Clapton’s vocals convey a sense of emotional vulnerability, while the guitar work transforms those feelings into something explosive.

Duane Allman’s contribution helped elevate the recording into something extraordinary. His slide guitar playing intertwines with Clapton’s guitar, creating a musical conversation between two artists whose approaches were different but remarkably complementary. Allman’s soaring slide lines give the song much of its distinctive character, while Clapton delivers some of the most impassioned playing of his career. The chemistry between them is especially remarkable considering that Allman joined the album sessions after recording had already begun.

Then comes the unexpected second half. The song transitions from its frantic blues rock opening into an extended piano-led instrumental passage, built around a musical idea developed by drummer Jim Gordon. The arrangement gradually unfolds with layers of guitar, including Allman’s expressive slide work, creating a dramatic contrast with the intensity of the first section.

“Layla” is one of those rare recordings where the musicianship, songwriting, and emotional circumstances behind the music come together perfectly. It also preserves a remarkable moment in blues rock history when two of the genre’s most influential guitarists joined forces. More than half a century later, that opening riff remains one of the most recognizable sounds in rock music.

Gary Moore – “Parisienne Walkways”

Gary Moore’s reputation as one of the great blues rock guitarists is often associated with his later solo career, particularly the success of Still Got the Blues in 1990. However, his musical roots and extraordinary guitar ability were already evident during the 1970s. “Parisienne Walkways,” released on his 1978 album Back on the Streets, provides an early demonstration of the emotional guitar style that would eventually become his trademark.

His ability to hold a single note and make it feel more powerful than an entire flurry of guitar runs became one of his defining characteristics. That quality is already evident on “Parisienne Walkways,” where the guitar seems to carry as much emotional weight as the lyrics themselves.

The recording also demonstrates the musical connection between Moore and Lynott, two Irish musicians whose careers intersected repeatedly. Their collaboration gives the song a sense of intimacy, with Lynott’s vocals and Moore’s guitar complementing one another beautifully. Although Moore would explore hard rock and other musical directions before returning more fully to the blues, this recording reveals how deeply blues expression informed his playing.

“Parisienne Walkways” remains one of the most recognizable compositions of Moore’s career and a reminder that the foundations of his later success were established long before he became an international blues rock star.

The post 10 Unforgettable Blues Rock Songs of the 1970s appeared first on Blues Rock Review.

Angine de Poitrine, the viral Quebec instrumental math-rockers, are on quite a run right now. The duo has existed since 2019, but they’ve become internet superstars during the 2026 calendar year. They’ve played Jools Holland and Fallon, and they’ve already inspired a tribute act across the planet. Just recently, Angine de Poitrine started playing big festivals, hitting Chicago’s Riot Fest and Richmond’s Iron Blossom last weekend. (I caught their set at Iron Blosson, and I might have more to say about it later.) On Tuesday night, Angine de Poitrine became the latest winners of Canada’s prestigious Polaris Music Prize.

The post Angine de Poitrine Win 2026 Polaris Music Prize appeared first on Stereogum.