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.
Removing the classicism, glam-goth density, and commitment to bleeding-heart Brit-punk of previous recordings leaves nothing behind on the songwriter’s third LP.
Greg Puciato, Mirrorcell
This sophomore solo LP is an exhilarating ride with some moments of magic, but one that never quite reaches the inimitable heights that Dillinger Escape Plan offered.
OFF!, Free LSD
Keith Morris’ latest hardcore-punk outlet expands outward from their rough, fast exterior without losing their fury or favor in hardcore branding.
Is the acquisition of an iconic Hollywood theater by a streaming giant another sign of the demise of cinema, or the new status quo?
In the wake of a frustrating unplugged set, rock’s leading party philosopher addresses failure, his first record in nine years, and—of course—the parameters of the party mindset.
…and four that thankfully didn’t.
Like previous Real Estate records, “In Mind” washes over the listener, pleasantly blending into the background.
Featuring a massive billing of developing names in humble venues, the Georgia festival presented a low-key option for those looking for an alternative to SXSW—or a pit stop for those on their way to it.
Up-and-coming Matador signee Will Toledo and his band go cruising through the ATL.
Protomartyr’s third album, “The Agent Intellect,” does a superb job evoking its title, the origin of which stems from a classical and medieval philosophy regarding the concept of active reasoning—it’s the conscious mental action of converting potential or passive thought into something human.
What stings about “Be Small,” though, is that its incredibly catchy and glossy sound suggests an emotional quality that the album at times lacks.
One of the best lineups of the season came together last week in Atlanta.
With “Kindred,” Michael Angelakos has crafted ten sun-splashed songs just in time for summer, but he’s lost some of Passion Pit’s musicality along the way.
Henry Laufer—a.k.a. Shlohmo—has crafted a somewhat pessimistic image for himself through his lyricless (and often reclusive and angsty) production.
Since the early 2000s, Vetiver has existed more as a moniker for songwriter Andy Cabic than an established Bay Area band.
With this latest full-length, Lewis attempts to create an album more confessional than “Confess,” “Eclipse”’s immediate predecessor.
“Beech Creeps” plays like a live album in both production and structure, as if the songs were loosely composed and then spontaneously expounded upon within the studio.
On After the End, the songs are more concise and grounded in form, but beyond that, the band’s working punk formula doesn’t seem far altered.