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.
A. G. Cook, Britpop
Marking the end of the PC Music era, the three-disc album is a mystifying project that goes beyond Cook’s evolving aesthetic as it traverses the past, present, and future.
Yaya Bey, Ten Fold
The Brooklyn-based neo-soul vocalist and composer holds onto the chunky melodic hooks of her recent output while grieving the death of her father and finding room for romance and joy.
Les Savy Fav, OUI, LSF
The Brooklyn dance-punk group ends over a decade of inactivity with an album that simply feels like five friends reveling in the opportunity to get back in the same room together to rock out.
Hayden Merrick
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.