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.
The Icelandic songwriter, producer, and vocalist’s first album in five years sees her pulling up her own roots, replanting them, and cajoling them to blossom colorfully anew.
TOLEDO, How It Ends
There’s a real darkness holding the quiet hush of the Brooklyn-based duo’s debut full-length together, which reveals a deep pain and trauma if you pay attention.
The eighth studio album from the alt-rock vets mostly sticks to its promise of bigger, bolder tracks, providing a handful of fluttering highs among their near-four-decade discography.
In 2008, Atlanta’s preeminent indie rock band made a record to become more than just that—but only tentatively so.
The Portland trio called it quits this week, but for many, they leave behind a fiery legacy that can’t be put out.
The proggy psych septet destroyed any traditional conception of a release cycle last year, but each of their five LPs are worth talking about on their own.
With an art exhibit and a debut solo album to offer, the ever-busy lyricist and visual artist opens up on his creative process with expected verbosity and frankness.
To love The War on Drugs, to gain a deeper understanding like the title of their latest album suggests, is to constantly return to the echoing canyons of dreamy classic rock they’ve spent over a decade now forming.