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.
Peter Gabriel, i/o
The broadly poetic tales of ordinary madness on the Genesis co-founder’s first LP of new original material in over two decades are often spare and daringly melodic.
House of Harm, Playground
The Boston-based goth-pop trio scratch a unique itch on their more complex sophomore record by expanding their aesthetic to incorporate Midwest emo vocals.
Full of Hell & Nothing, When No Birds Sang
The six collaborative tracks from the Maryland grindcore outfit and Philly shoegazers stretch both bands into new compositional terrain in addition to playing to each group’s strengths.
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.