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.
Jason P. Woodbury
Some questions are more complicated than they seem.
The LA quartet has crafted one of the most pleasurable sounding records you’ll hear this year, the idea of personal liberty permeating the record’s warm grooves.
Plus: You’ve been calling Kenny Loggins by the wrong name all these years.
“Dirty Projectors” can at times be exhausting, and its density can feel crushing, but at their best, David Longstreth’s songs center on connection.
While so often synthesizer music seeks to make the listener feel weightless, Jaime Fennelly finds beauty in binding, securing forces.
On their second album, the Montreal quartet drill deep into the concept of groove.
Indie vets Chavez return after a twenty-year recorded absence with a surprising, vital set of songs.
After pop stardom, the “She Blinded Me with Science” singer set his sights on the intersection of music and technology.
Like so many retro-leaning artists before him, Donald Glover riffles through classic sounds for a lens through which to view his modern anxieties.
How a comic about an anxiety-ridden “little gentleman” with a serious aversion to liver and onions became one of the most beloved cartoons of its era.
The co-star of FXX’s alchemical comedy talks the season three finale, what to expect next—and the special linguistic privileges afforded the British.
The Gulf Coast humidity means things often get melded in Houston, but one gathering is blurring the line between music festival and art installation in a new way.
This isn’t your grandmother’s cross-stitching. Unless your grandmother has a thing for Paul Thomas Anderson and has sold work to Ai Weiwei.
As he did throughout the tenure of The Weakerthans, Samson on his second solo record resolutely resists the tropes that so often plague singer/songwriters.
On their eleventh LP, our finest chroniclers of life below the Mason-Dixon explore the duality of the American thing.
Death has always loomed over Canadian post-punk band Preoccupations.
The elements here are simple, but in Bowles’s capable hands these common tools are utilized in marvelous ways.
John Dwyer’s long-running powerhouse builds on the expansive sound of last year’s “Mutilator Defeated at Last.”
The Topanga Canyon singer/songwriter/producer’s second LP—and Sub Pop debut—is defined by an immaterial dreaminess.
Chunklet releases a live recording of the vital Athens band’s final live performance before their 1983 breakup.