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.
Twin Peaks’ Clay Frankel and Home-Sick’s Chris Bailoni decided to make a group casually, even though the music ended up sounding anything but.
With “Simulation Theory,” one wonders if Matt Bellamy realizes he’s literally last in line for this year’s retrofuturism trend.
It was always easy to view Lil Wayne as another narcissistic capitalist, bragging his way into superstardom, but now we know the real story.
Remarkable as St. Lucia’s ability to traverse time remains, 2013 still seems like their most urgent destination.
Drake has brilliantly portrayed fatherhood from the perspective of an abandoned child—but now that he is the estranged father, his music feels cold, distant, and distracted.
The geographies, childhood memories, and necessary failures that tilled the earth for Josiah Wise to build on.
Arctic Monkeys’ long-awaited returns is built like a Ridley Scott film—foreboding the bleakest of futures, yet you still want to step inside and join the resistance.
Impending doom is a theme on “Virtue,” whose title invokes that which seems to be lost in today’s musical climate.
MGMT’s fourth LP marks a return to concise synth pop after their intermittent phases of indulgent psych-rock.
With “War & Leisure,” Miguel has solidified a sound that contextualizes past efforts.
Björk’s utopia is not born without pain.
Fringe representatives of LA, the Jagjaguwar signees are building their own planet right here on Earth.
Shouldn’t we expect much, much more from one of the world’s most powerful cultural influencers?
“Concrete and Gold” tries its hardest to escape the inevitable, but still cements Foo Fighters in the past-their-prime phase.
Mensa’s debut finds him more musically focused and intellectually connective than ever, but his apparent urge to be Common and Justin Bieber at the same time still wears on his content.
Struggling to relate to his fans and with his infidelity exposed, Shawn Carter was left with one option: Kill Jay Z.
There’s no Nicki Minaj feature, no DJ Mustard club cruncher, no junk-food love songs; it’s great pop without the guilty pleasure factor.
Imagine if twenty years ago, Radiohead had pulled a Green Album.
Rock history proves that if you’re going to try and awaken the world with a new message, you’d better wake them up with new sounds, too.
Upcoming EP titled “Over the Covers” to start the new chapter.
Bands reuniting can be much like exes reuniting—there’s the initial intoxication of a long-lost love restored, the few brief moments of ecstasy as it commences, and finally, the heart-sinking reminders of why the damn thing ended in the first place.
Ease the “DAMN.” suspense with some of the deepest cuts.
“Little Star” is out April 14 via Good Cheer Records.
“El Radio” is out May 12.