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.
Leaving Time, Angel in the Sand
At various turns haunting, alluring, catchy, and confident, the Jacksonville shoegazers’ well-considered debut introduces the band with aplomb.
Bryan Ferry, Retrospective: Selected Recordings 1973-2023
Far from isolating Ferry from Roxy Music, this 50-year retrospective examines collaboration as the throughline between his elegant early material and his latter-day paeans to loneliness.
Mount Eerie, Night Palace
Phil Elverum decries genocide and gentrification while exploring more personal themes that once again unify his distorted lo-fi recordings as a cohesive testament to feeling insignificant.
Mac Pogue
Junior Boys know how to maintain their inexplicable sense of cool—all it takes is the right amount of withholding.
“Pond Scum”’s bare aesthetic sounds a bit like Oldham wandered in front of a microphone at the BBC studios.
The Okkervil River frontman looks back at his band’s breakthrough LP ten years later.
What are live albums for, anyway?
Oneohtrix Point Never revels in making music that surfaces elements of humanity hidden within the mundane detritus of our culture machine.
West Coast noisy garage maven Chris Woodhouse recorded “Dopers,” sanding down some of their previous records’ rough edges in order to emphasize others.