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Todd Rundgren, Kasim Sulton, Willie Wilcox and Ralph Schuckett are reuniting for their first North American tour "since the Chernobyl nuclear reactor exploded," as they put it, or 32 years. This ends what their manager calls "the longest sabbatical ever."

After topping Billboard’s Hot 100 as a featured vocalist on the Mariah Carey smash "Thank God I Found You," Joe went triple-platinum with "My Name is Joe," his third album, which sent the Mystikal-assisted "Stutter" to the top of Billboard’s Hot 100.

Other songs of note include "I Wanna Know" and "All The Things (Your Man Won’t Do)," his first big hit, which appeared on the soundtrack to the Wayans brothers’ comedy "Don’t Be a Menace to South Central While Drinking Your Juice in the Hood."

These death-metal legends are touring the States in support of an acclaimed self-titled album, their 10th release in 30 years. And as Alternative Press summed it up, "For younger death-metal bands, the message is clear: "Wait ’til your father gets home."

This tour with Listener, Hotel Books, Sienna Skies and Heavy Things is in support of the recently released "Bad Frequencies," the long-awaited followup to "Zero," a pop-punk concept album about a group of teenagers fighting a totalitarian corporation.

After breaking through at country radio with "Baby Girl" from a triple-platinum debut titled "Twice the Speed of Life" in 2004, the duo topped the country singles charts with "Want To," "Settlin’," the platinum "All I Want to Do," "Already Gone" and "It Happens."

Their biggest hit, the double-platinum "Stuck Like Glue," was featured on their latest album, "The Incredible Machine," which topped the charts in late 2010. Following a huge tour on that album, they went their separate ways, releasing solo projects.

How low can they go? The latest Melvins lineup features two new bassists for the low, low price of one. Singer-guitarist Buzz Osborne and drummer Dale Crover are joined on bass by Steve McDonald of Redd Kross and Jeff Pinkus of Butthole Surfers.

Among the more alluring albums of 2017, their self-titled debut is a haunting collection of cinematic pop songs that owe much of their appeal to Greg Gonzalez’s wistful delivery, underscoring the intimacy of the lyrics as he drifts from one romantic ballad to the next.

But those Ritchie Valens covers barely scratch the surface of a decades-long career that’s seen their scope expanding from the roots-revival moves of their earliest efforts through the artistry of "Kiko" to their latest effort, "Gates of Gold."

As Brendan Kelly explained to Alternative Press, “I think you have to have hits to make a greatest hits. So we approached the song selection in an attempt to be indicative of our evolution, rather than focus on our ‘hits,’ of which, frankly, there are none.”

These emo veterans are touring an album inspired by current events. “When we started writing, we were fresh off Trump being elected, so there’s an anger to the album that’s different from what we’ve done in the past,” says singer David F Bello.

It offers a mellower, trippier side of the King Tuff aesthetic. Uncut says, “’The Other’ sees the slacker goofball King Tuff reborn as a spiritual thinker, albeit one with an excellent groove” while Mojo hears it as “the product of a much-needed rethink.”

The tortured genius of Haunted Graffiti earned raves in 2017 for the masterful “Dedicated to Bobby Jameson,” whose title refers to a real-life L.A.-based musician of the ‘60s, long presumed dead, who resurfaced in 2007 with an autobiographical blog.

It’s a sprawling affair whose lengthy tracks feel more like suites than proper songs. But therein lies the charm. And as the 405 concluded, "There won’t be another album that comes out this year that sounds like ‘White is Relic/Irrealis Mood.’"

She’s the only artist in history to have four albums sell more than one million copies in their first week of release (2010’s "Speak Now," 2012’s "RED," 2014’s "1989" and last year’s "Reputation"). This is the opening night of her "Reputation" tour.

It’s been nearly 40 years since he took his accordion into the men’s room across from the radio station at California Polytechnic State University and emerged with a recording that would change the course of both his own life and — let’s face it — ours as well.

That song was "My Bologna" — a goofy parody of the Knack’s chart-topping ode to young lust, "My Sharona." And with that, he established a formula that’s seen him through such culture-rocking spoofs as "Eat It," "Like a Surgeon," "Smells Like Nirvana" and "White & Nerdy."

That album, which showcased his gift for alternative-country storytelling, earned raves – and deservedly so – from a number of outlets. Uncut said it “feels like the work of a man who’s finally found his calling” while MOJO praised it as “intimate, timeless music.”

These post-hardcore veterans are touring on "Jericho Sirens," their first album since 2004. And as John Reis promised, there’s more tension than release as they make their way through such jittery highlights as "I Need a Doctor" and "Why Don’t It Sink In?"

As the Skinny noted, " ‘Jericho Sirens’ is an incredible turn, and proof to the other half-hearted post-hardcore comebacks of the last years (looking at you At the Drive-In, Refused and more) that it is possible to still be high-quality and relevant."

From the time they hit the streets with “(pronounced ‘leh-’nérd ‘skin-’nérd),” it was clear that these Florida longhairs were serving a scrappier brand of Southern rock than the Allman Brothers Band — which is weird, because they also did more ballads.

After 11 years of touring and recording solo, David Bazan like Al Green before him, was so tired of being alone. "I missed the energy of making music with other people on stage, and constantly traveling alone was starting to really sting," Bazan recalls.

And it wasn’t until after renting a practice space and rounding up some bandmates that it started to feel an awful lot like the process that brought him to Pedro the Lion the first time around. “To my surprise," he says, "it felt a bit like coming home.”

“This is a cause that is very close to my heart,” says Kevin Martin, lead vocalist for Candlebox. “With music and arts programs being cut from our schools it’s now more important than ever to have organizations like Alice’s to make sure that our kids get the opportunity to experience these things. Who knows where I would have wound up if it weren’t for music?”

These Canadian post-punk revivalists are touring in support of “New Material,” a synth-driven gem of dystopian downers that Billboard called "a wonder of a modern post-punk record, rife with icy, industrial edges and glistening, kaleidoscopic innards."

It’s been a decade since the singles from "Oracular Spectacular," a platinum debut that found them filtering their psychedelic sensibilities through futuristic electronic textures, established these two as the trippiest modern-radio darlings of the hour.

And their latest album, "Little Dark Age," is as willfully eccentric yet accessible as anything they’ve done since then. Under the Radar declared it "a welcome return of MGMT’s pop instincts" and "perhaps the best indie-rock album of the year so far."

Last year marked the 20th anniversary of these post-rock pioneers acclaimed debut. And they honored the occasion by adding yet another brilliant chapter to their legacy, "Luciferian Towers," an album that plays out like an epic, emotionally stirring suite.