On the fourteenth season premiere of Discologist, Eduardo and Kevin are cranking up the volume on the issues facing the music industry, imagining a world without Pitchfork, and spinning new tracks that they love from the debut of Milwaukee’s The Breadmen, “country witch” Kitty Coen’s latest spell, Katy Kirby’s stunning new album Blue Raspberry, and the chilled out jam-jazz of Mildlife’s upcoming album Chorus.

First Up: Taylor Swift is gamifying the ticket industry? What does this mean for YOU and is this latest "big bad" really worth worrying about or should we be setting our sights higher.

Then...when Philadephia's Adam Granduciel started The War On Drugs with fellow mellow-rocker Kurt Vile back in 2006, the music industry was rapidly approaching the era of peak indie. Granduciel's small but intricate soundscapes stood out in a landscape dominated by fuss and flash, and on 2014's Lost In The Dream, the expanded lineup hit their stride with an album that balanced laid-back psychedelics with oceans of heart and soul. Dream earned The War On Drugs a rapidly growing fan base and a major-label deal, the results of which can be hard on their latest LP A Deeper Understanding. Kevin, Marcus, and Paul are digging into the band's latest forays to the edges of the sonicsphere to see if the trip is worth the journey, or The War On Drugs best days are behind them now.

Plus! Denver, CO's The Yawpers Boy In The Well, is the straight shot of rock-and-roll that we all need in 2017. Get a taste of this adrenaline fueled, high concept, punk-Americana masterpiece with the track "Mon Dieu." 

Everyone knows the state of concert ticketing is f#$#ed. Now there's a new study that kinda proves it.

Megadeth is back with their 15th album, Dystopia. MOAR metal is good metal. Maybe.

Chicago's Numero Group continues to solidify their status as the grooviest record label that ever was with their Project 12 series. We've got a taste for ya.

Still kinda waiting for our damn croissant.