With 232 pages and an expanded 12″ by 12″ format, our biggest print issue yet celebrates the people, places, music, and art of our hometown, including cover features on David Lynch, Nipsey Hussle, Syd, and Phoebe Bridgers’ Saddest Factory Records, plus Brian Wilson, Cuco, Ty Segall, Lord Huron, Remi Wolf, The Doors, the art of RISK, Taz, Estevan Oriol, Kii Arens, and Edward Colver, and so much more.
METZ, Up on Gravity Hill
The Toronto noise-punks’ fifth LP sees their familiarly angular guitars working through melodies that range from ear-sweetening to atonal, furthering the mystery that is the band METZ.
Drahla, Angeltape
Their sophomore album sees the Leeds-based trio overcoming grief over instrumental flourishes that recall yesteryear while artfully resisting the lure of entering a time machine.
Chanel Beads, Your Day Will Come
Shane Lavers captures the awe and unease of humanity’s impermanence on his debut album of dissociative dream pop.
Austin Brown
After purging something dark, Damon McMahon came back with something light—”Freedom,” an album meant to pull you up, in one way or another.
Caroline Sallee’s group sets itself apart with a generous helping of smeared dream pop and Lynchian, dissonant Laurel Canyon motifs.
When Vampire Weekend arrived with a highly divisive debut a decade ago, the “preppy Columbia band does world music” narrative was set. But it wasn’t all that correct.