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.
Babehoven, Water’s Here in You
Maya Bon and Ryan Albert’s second LP of lush indie-folk is warm and inviting as ever, though the album’s impressionistic storytelling tends to keep the listener at arm’s length.
Maria Chiara Argirò, Closer
The London-based art-pop composer shifts into more polished electronic club music territory on her third solo LP as we hear her wrestle with a sense of connection.
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.
Devon Chodzin
With pristine pop, bold rock, and a revitalized love for performance, the New York group’s third LP succeeds in bridging their priorly variegated output.
The Irish neoclassical composer paints in grayscale on her third solo album, her dirges often feeling dark or lamentable while at other times frank, vulnerable, or even loving.
The largely self-produced album marks Groves’ first full-length since her 2009 self-titled under the name Blue Roses.
With the help of collaborator Madeline Johnston of Midwife, Jensen Keller’s pensive slowcore project produces a hypnotizing post-rock experience with a hint of outlaw country.
Named for her pandemic puppy, the record marks Hannah van Loon’s first release since 2018.
Zack James unpacks the nuanced feelings behind each track on the band’s innovative alt-country album.