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.
Blonde Redhead, Sit Down for Dinner
The dream-pop trio celebrates the precarity and preciousness of life with delicate and airy sounds on their first record in nine years.
Oneohtrix Point Never, Again
Daniel Lopatin’s “speculatively autobiographical” tenth album marries a handful of his past styles, soulful vibes, and sample tricks into one future-forward, frothing, fluid stream of sound.
Armand Hammer, We Buy Diabetic Test Strips
The block-party feel of billy woods and ELUCID’s guest-heavy sixth full-length together makes for a raucous listen, yet it’s clearly the defining statement in their always-brilliant discography.
In our latest digital cover story, the band—along with recent tourmate Maggie Rogers and album producer Shawn Everett—reflect on Blue Rev ahead of its one-year anniversary reissue, and how trusting the deep dives (and each other) makes it all worthwhile.
More cohesive than its title suggests, the second album from the Brooklyn trio is a snappy, bouncing clatter of post-punk vitality.
The Best Coast vocalist on ripping up the rulebook and rediscovering herself during the creation of her first solo album, Natural Disaster.
Impressionistic contemplation of the past and discomfort with the present is buried under sodden, water-logged synths and glitchy samples on the genre-defying group’s third proper album.
Alicia Bognanno details how the huge sound of her new LP comes from an intimate place.
From buzzy broncos feeble little horse to folk supergroup Bonny Light Horseman, there seems to be an increasing number of equine-named artists; we investigated this phenomenon.
Finn talks about The Price of Progress, the group’s new collection of distinctly modern fables, and continuing to grow as a band after 20 years.
Madeline Link finds hope in unlikely places on her warm, cranked-up second full-length.
The buzzy UK group’s debut EP showcases Jojo Orme’s dizzying vocal style, as well as the Rolodex of varied influences she mines to produce something wholly original.
On their second LP, the Midwesterners try on a host of different costumes, revealing multiple iterations of their malleable indie-rock sound.
The Philly-based five-piece encompasses the guitar-pop gamut, all the messy layers of human emotion, and a healthy dose of stars-and-stripes ephemera on their third LP.
In spite of characteristically good songwriting, the London-based post-Britpop group’s sophomore record wraps without any substantial revelations.
The sonic postcards and arcane references on the band’s tenth studio album are driven by a newfound curiosity, one that succeeds in stretching their best components farther than ever before.
Elizabeth Stokes discusses how the group’s new album Expert in a Dying Field was inspired in equal parts by the complexities of jazz and the harmonies of pop music.
With their sepia-toned debut LP 90 in November out now, the indie-pop quintet share a playlist of tracks they look back on fondly.
Ahead of Friday’s release day, Stu Hopkins also notes 5 albums the band “straight up ripped off” on their new LP.
With shows in 13 countries booked throughout the fall, it looks like the third iteration of indie rock’s enigmatic VIPs gets the honeymoon that never was.
The LA-based trio reshapes the aloof robotics of Kraftwerk and the auditory illusions of Melody’s Echo Chamber into their own unique voice on their second LP.
Rolling Blackouts Coastal Fever, Dehd, UV-TV, and more bands pushing rock music forward by pulling from the past.
Melody Prochet’s third LP is more contained than her previous album and more sophisticated than her spirited echo-pop debut.
The duo’s desperately anticipated self-titled debut elicits a too-cool-for-school demeanor and will appeal to any overthinking or underthinking post-millennial.
The Australian “power emo” trio use their latest LP to heal storm scars, allowing themselves a less purposeful indulgence that nevertheless resonates with the same immediacy
The latest from Glenn Donaldson’s melancholy outfit is a rewarding release in an increasingly saturated jangle-pop landscape.
From Green Day’s homage to “Catcher in the Rye” to Japanese Breakfast channeling Raymond Carver, here are some of the best tracks inspired by literature.
With a fondness for the usual jangling suspects, the band’s first release in 11 years is a cumulonimbus of reverby guitar-pop unconcerned with fitting in.