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.
Bonnie “Prince” Billy, The Purple Bird
Created in tribute to his friendship with producer Dave Ferguson, the youthful energy they channel together works well for a no-frills country record that gets so much done with so little.
Kathryn Mohr, Waiting Room
Constricting yet chillingly spacious, the atmosphere of this debut is guided by the achingly human tremble in Mohr’s voice and the tangible weariness of her minimal use of guitar and synth.
Pink Siifu, Black’!Antique
On his sprawling fourth solo release, the rapper, producer, and post-soul provocateur—along with his coterie of collaborators—achieves something both memorably melodic and weirdly wired.
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.