But as much as they’re interested in success, Kasador—vocalist/guitarist Cameron Wyatt, guitarist Thomas Draper, bassist Boris Baker, and drummer Stephen Adubofuor—are interested in simply being a great rock and roll band in a time when connection, friction, and unpredictability are whittled away in favor of algorithmically dictated sameness. What is left when everything feels and looks and sounds good? Why do we idolize the rich assholes picking our pockets?

That’s the question Kasador asks on “Golden,” their new single which released on December 17. It opens on a heavy, grimy garage-rock groove, then motors through a taut, acidic verse before the chorus bursts open on Adubofuor’s half-time beat: “If everything is golden, what is there to hold on?” Wyatt wonders. The song came from Wyatt’s reflections after spending time in Los Angeles: The city’s famous, fame- and money-obsessed culture left him with a deep, and deeply modern, sense of alienation and desensitization.

“Golden”—undoubtedly the heaviest music Kasador has released to date—is a taste of a new collection of 10 songs to be released in 2025, across two EPs. Recorded at the Bathouse Recording Studio with engineer Nyles Spencer and written with a group of friends and longtime collaborators, the tracks evidence a new era for Kasador: More than ever, they’re committed to loud, catchy, confrontational guitar music as a weapon against corporate power, plutocracy, and our great collective numbness. This is the clearest and most direct they’ve ever been. Uncoincidentally, it’s also the most fed-up they’ve ever been, and they’re not pulling any punches.

This is dressed-down, cheeky, pirate-radio indie-rock: “Cut It” sounds like a stumble through an early 2000s, summer-night house party, a crunchy, quirky alt-rock earworm that’s destined to become a live-performance favourite. (It’s also the first Kasador track to feature a dog.) “Butterflies,” a song the band has workshopped for a few years, emerges here as a thundering grunge anthem, with Baker’s bass and Adubofuor’s stupid-good drum groove driving the train while Wyatt and Draper trade slashing guitar parts.

“Revolution No. 10,” written with and featuring Ottawa artist Nambi, uses a Rolling Stones-ish chording energy as a springboard to a punkish modern-rock call-to-arms against the super-elites. “It’s just this whole thing of all these billionaire guys that everyone seems to weirdly love,” says Wyatt. “How are you still obsessing over these people when they have completely screwed you over to get there?”