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.
Mac Pogue
Junior Boys know how to maintain their inexplicable sense of cool—all it takes is the right amount of withholding.
“Pond Scum”’s bare aesthetic sounds a bit like Oldham wandered in front of a microphone at the BBC studios.
The Okkervil River frontman looks back at his band’s breakthrough LP ten years later.
What are live albums for, anyway?
Oneohtrix Point Never revels in making music that surfaces elements of humanity hidden within the mundane detritus of our culture machine.
West Coast noisy garage maven Chris Woodhouse recorded “Dopers,” sanding down some of their previous records’ rough edges in order to emphasize others.