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.
Bob Dylan, The Bootleg Series Vol. 17: Fragments – Time Out of Mind Sessions: 1996-1997
On the series’ 17th installment, listeners are transported to the sound of desire, a Dylan reconnecting and reconnoitering with a curt and surly muse.
Bass Drum of Death, Say I Won’t
The Mississippi garage rockers move past lo-fi toward a more soulful and power-chord heavy sound on their Patrick Carney–produced fifth album.
Lil Yachty, Let’s Start Here.
The Atlanta rapper has taken up the mantle of prog-psychedelic, live-band hip-hop, and the results are as outwardly wily and avant-garde as they are insular and introspective.
The fourth LP from the Liverpool-based Britpop fourpiece plays on heartbreak and perspective, likely resonating with the listener no matter their interpretation.
On her sophomore LP, the singer and actress has no fear in exposing her truest feelings and thoughts, often from the distance afforded by singing from the perspective of another person.
Contrasting with its playful album cover, the LA rockers’ sophomore LP struggles with the implications of how the present will affect us in 10 years.
The queen of self-love’s sophomore major-label effort is an album filled with gratitude and a push for new beginnings.
Clover’s debut takes themes related to love and cranks it up a notch, provoking a sense of fear to go along with a narrative that often feels akin to Bonnie and Clyde.
Two years after its release, the West Coast duo is rereleasing the sunny LP as a deluxe package featuring a few new cuts.
The latest from René Kladzyk highlights the sadness that comes with the holiday season.
The latest from the Chicago group sounds wholly futuristic while lyrically placing the listener in the all-too-familiar present.
Pulling from 1980s synth influences and written over FaceTime, the latest from the Bay Area post-punks is a capsule of post-pandemic life.
The debut EP from the Richmond-based songwriter provides enough substance to satisfy, but hides enough to keep you craving more.