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.
Chanel Beads, Your Day Will Come
Shane Lavers captures the awe and unease of humanity’s impermanence on his debut album of dissociative dream pop.
Couch Slut, You Could Do It Tonight
Leaning into their lyrical strength of expressing life as we know it as a visceral horror story, the sludge-rockers’ fourth album is equally notable for its unexpected instrumental flourishes.
The Libertines, All Quiet on The Eastern Esplanade
Almost 30 years into their existence, the post-punk revivalists let listeners know that their youthful fire hasn’t dimmed on their fourth, most tightly wound album.
Kyle Carney
The 1980 film “The Song of Leonard Cohen” offers a small, quiet glimpse of the songwriter’s life in Montreal.
The LA quartet’s third full-length feels like a dutiful turn toward the middle of the road.
Echoing drones, lethargic beats, and mournful chants combine to make up the New Orleans trio’s debut.
This is Aphex in retrograde, and it’s perhaps his very first concept album—albeit in EP form.
Stretched to 1000% of its original length, an Aphex Twin song suddenly exists on a different sonic plane while its component parts remain unchanged.
Puberty: way more fun the second time around.
The Toronto electronic tinkersmiths’ first album is six years feels like it’s comprised of lost artifacts of sound, rough-hewn and forged in some otherworldly studio.
The master of the drone Hecker tempestuous soundscapes on his first release for 4AD.