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.
Blonde Redhead, Sit Down for Dinner
The dream-pop trio celebrates the precarity and preciousness of life with delicate and airy sounds on their first record in nine years.
Oneohtrix Point Never, Again
Daniel Lopatin’s “speculatively autobiographical” tenth album marries a handful of his past styles, soulful vibes, and sample tricks into one future-forward, frothing, fluid stream of sound.
Armand Hammer, We Buy Diabetic Test Strips
The block-party feel of billy woods and ELUCID’s guest-heavy sixth full-length together makes for a raucous listen, yet it’s clearly the defining statement in their always-brilliant discography.
The most slept-on Beatles solo album was also one of the first—and likely the most off-the-cuff, too.
What many consider the scariest movie ever made started as a casual idea tossed out to a young filmmaker who understood the terror inherent within our own homes. That filmmaker also knew how to play the synthesizer.
*flips hair out of eyes while rock-climbing*
Movie: good. Van Morrison singing Pink Floyd while Leo takes his shirt off: bad.
Courtney Barnett has been building quite the home for herself in our cultural pantheon. But she needs a place for her cat to stay, too.
Now that every new release is considered to be a potential protest album of some kind, “Con Todo El Mundo” has arrived wonderfully devoid of any superfluous meaning.
The London duo should’ve become an institution. But with their final album supposedly scrapped, they’re at risk of becoming a footnote.
Oh, so you’re such a big fan now? Name three of their lawsuits.
Rather than avoiding the ordinary details of our landscape, the LA photographer is focusing on them—and abstracting them into something new.
Oscars, Schmoscars. We’ve got the real winners of the family right here.
Ready, steady, go.
Headliners were a story, as always, but they weren’t the story out of the fest’s inaugural three-day run at Expo Park.
Crank up the Beach Boys, baby: it’s time to figure this thing out.
In an age of army-sized writing teams crushing any sense of person on most major label releases, Lorde exists as a disarmingly legitimate personality.
Not all fan theories are garbage.
If the critique of Woods is that they don’t shake things up enough, here is a definitive example to the contrary.
For a songwriter known for his inability to write a bad song, it’s easy to forget that Britt Daniel was once pushed to the brink. And whether he wants to or not, on “Hot Thoughts,” his group is bridging back to the beginning.
“Hang” feels like a dramatic work in eight parts—a vaudeville act about Hollywood and the bastardized Manifest Destiny that it’s created.
Strange as it may sound, two of music’s heaviest rock acts also function as two of its most sincere folk revivalists. But is it really a revival act at all?
Yeah, yeah, we get it. Beyoncé had a good year. But can we get on to the more important stuff now?
In a year overwhelmed with dramatic departures, the profundity of Leonard Cohen’s exit was a little washed over—and may have been all the more appropriate for it.
The Brooklyn power-pop trio have two albums to show for their two years of existence, and wouldn’t you know it, they’re currently batting a thousand.
The current legacy of America’s most complicated movie star has long been defined by a YouTube clip of him jumping on a couch, but—praise Xenu—we finally have something to replace it.
The special session was recorded for the Oregon festival’s latest shebang, with the band touring in support of their excellent new LP, “Dusk.”
When the GOAT hangs it up this weekend, we’re losing a lot more than just a golden voice.
Yes, even worse than Scott Stapp’s Marlins song. Lord forgive the parents who squandered their children’s chance for a normal life by subjecting them to this stuff.
This is quite an achievement from someone who rhymes “all I wanna” with “marijuana.”
A lounge act for the darkest recesses of your mind, Sydney’s latest (and greatest) musical export uses his Secretly Canadian debut to contort into a variety of shapes—none of which may be his own.
Nic Cage movies (and romantic regrets) are timeless, but web design is not.
Fully employed and only occasionally found underneath a bridge, the Internet troll to end all Internet trolls doesn’t mean any harm—but we should probably be taking him seriously all the same.
Mornings are for coffee and contemplation, and cords are for fighting paranormal monsters.
As the album turns the same age that the band was approaching at the time they were making it, thirty never sounded so young.
Put some respeck on his name.
Finally seeing wide release after years of tremulous underground currents, “Jumping the Shark” is a schizophrenic how-do-you-do from a crazily put-together artist.
Home-recorded guitar records are a dime a dozen these days, but rest assured you have not heard one that sounds quite like this in some time.
The fact that McCartney was twenty-three when he wrote “Yesterday” can still spoil someone’s day, so proceed with caution in knowing that these dudes are teenagers.
Forty years since meeting—and thirty-six years since delivering an all-timer in “Crazy Rhythms”—Glenn Mercer and Bill Million remain one of indie rock’s great duos. Ahead of their upcoming sixth Feelies LP, the two New Jerseyans take a look back at their idiosyncratic discography, piece by piece.
Formed out of the dissolution of personal and professional bonds, Max Kakacek and Julien Ehrlich’s new project is a transmission of inner rapids—and their first full-length, “Light Upon the Lake,” is a postcard from the calm on the other side.
Eat our shorts, L&R Group of Companies.
Are you using the solo work of broken-up band members as a rebound? Sometimes, maybe, but take note, Television fans: for a brief moment in 1981, that wasn’t the case.
“I like it!” — Shaun in “Shaun of the Dead”
Get that Tom Cruise shit outta here.
Is Ewing Theory still in play when half the teams have lost a Ewing? At this point, it’s simply become a fight to stay healthy.
Our favorite clips that the Purple One has left us with—for now.
Take the edge off by realizing that you’ve been taking the edge off way too much.
Also, Johnny Depp is married to Amber Heard?
The Warriors made history last night, but Kobe rewrote it.
Fresh off the most abrasive release of their career, Andrew Savage and Austin Brown explain how nerves, the bigger picture, and Jeff Tweedy’s kitchen led to their brilliant new LP, “Human Performance.”
The eleven-minute experimental experience is more than you might want, but it’s exactly what you need.
“Sailor Ripley, you get me some music on that radio this instant.”
The spin-off prequel is out December 16.
“Nonagon Infinity” is out April 29 via ATO.
The music is barroom, and the attitude is lonesome, on’ry, and mean.
Rian Johnson, you seeing this?
The warrant was out for a $200 “failure to return rental property” misdemeanor fee, for which Tom Green has now volunteered to pay.
“You’re looking well, Ty.”
“Uh, we had a slight weapons malfunction, but uh… everything’s perfectly all right now. We’re fine. We’re all fine here now, thank you. How are you?”
“Throwing keys over horses… I didn’t follow it really.”
Who’s gonna miss her, though? As if she really needs to ask.
The new series from the makers of “Eastbound & Down” will debut in July on HBO.
Boognish be praised, Gener and Deaner have gotten the band—or is it the bands?—back together.
The unlikely duo hung out together for a “CBS This Morning” segment about the free Major Lazer concert that went down in Havana over the weekend.
“Dolls of Highland” is out April 29—just in time for the actual Pentecost—on Sub Pop.
Industry standards are overrated.
The director of the elephantine indie “Meadowland” plugs in to shine a light on where the roads of her career meet—and how those roads have brought her to where she is now, shooting Martin Scorsese’s “Vinyl.”
Missed #TwinPeaksDay by about ten hours, dudes.
“It Calls on Me” is out now via Trouble in Mind.
“City Sun Eater in the River of Light” is out April 8 via the band’s mothership label, Woodsist.
“Teens of Denial,” the follow-up to last year’s “Teens of Style,” is out in “late spring” via Matador.
Subtitled “The Search for More Money,” the 4K UHD–series will air via the BBC sometime this year.
His debut LP “Cut and Paste” is out May 13 on Wichita.
The parody release features such soon-to-be Mark Kozelek classics as “I Watched the Movie The Revenant with Leo DiCaprio” and “Fields of Marigold.”
It’s the primary contradiction presented on DIIV’s second album, “Is the Is Are,” that makes it so beguiling.
Ten new “Love Mojis” featuring the Beatle’s take on 8-bit melodies are now on Skype.
“Singing Saw” is out April 15 via Dead Oceans.
“No Show Jones” will co-star Jessica Chastain as Tammy Wynette and will be written by “Straight Outta Compton”’s Alan Wenkus.
Time to pretend that you have a child to feed.
Imagine those customers’ intrigue, then, when they find out that “Night Fiction” has a story to go along with it.
Don’t think he’ll be getting the deposit back for that motel.
“Chaosmosis” is out March 18 via First International/Ignition.
Everybody’s working for the weekend.
No word on details or a release date for LP1.
He says that he will continue to collaborate with the band, but that he wants to focus on his own career.
“‘Crab Day’ is an old holiday. ‘Crab Day’ is a new holiday. ‘Crab Day’ isn’t a holiday at all.”
The previously unreleased take on the Heatmiser track is from the upcoming soundtrack for “Heaven Adores You,” the recent Elliott Smith documentary.
Since moving on from The Fiery Furnaces in 2010, Eleanor Friedberger has done a real swell job of just doing her own damn thing.
Price’s debut, “Midwest Farmer’s Daughter,” is out March 25 on Third Man.
Guess this dude is officially…out of the Woods… Get it? Like, he might be out of Woods, the band. You wouldn’t understand.
Today’s secret word is “excited.”
Say “Rolling Blackouts Coastal Fever” five times fast.
The trio’s second LP “Welcome the Worms” is out on April Fools’ Day via Dead Oceans.
Ashes to ashes, funk to funky.
The band’s debut album “Shoo” is out March 4 via Bayonet Records.
The group’s third album “Plaza” is out February 26 on Mexican Summer.
A reimagining of “The Psychedelic Swamp,” the band’s lored first set of recordings, is out February 5 via ANTI-.
“‘C’est la vie,’ say the old folks, it goes to show you never can tell.”
The ten-episode first season lands on February 19, and season two has already been ordered.
You can leave your stupid comments in your pocket.
Your move, non-Ninja Lanternsharks.