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.
Nia Archives, Silence Is Loud
With her debut collection of drum and bass music, the English musician comments on the history of a multitude of subgenres in a way that’s never navel-gazey and always assured.
girl in red, I’M DOING IT AGAIN BABY!
Marie Ulven’s revved-up sophomore LP is both fun and uncomfortable, a poperatic portrait of the artist fucking up and learning in real time.
Cloud Nothings, Final Summer
Though continuing to build off the blueprint of 2012’s Attack on Memory, Dylan Baldi replaces some of that early release’s angst with a measured positivity on the group’s eighth album.
Kyle Carney
The 1980 film “The Song of Leonard Cohen” offers a small, quiet glimpse of the songwriter’s life in Montreal.
The LA quartet’s third full-length feels like a dutiful turn toward the middle of the road.
Echoing drones, lethargic beats, and mournful chants combine to make up the New Orleans trio’s debut.
This is Aphex in retrograde, and it’s perhaps his very first concept album—albeit in EP form.
Stretched to 1000% of its original length, an Aphex Twin song suddenly exists on a different sonic plane while its component parts remain unchanged.
Puberty: way more fun the second time around.
The Toronto electronic tinkersmiths’ first album is six years feels like it’s comprised of lost artifacts of sound, rough-hewn and forged in some otherworldly studio.
The master of the drone Hecker tempestuous soundscapes on his first release for 4AD.