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.
Nia Archives, Silence Is Loud
With her debut collection of drum and bass music, the English musician comments on the history of a multitude of subgenres in a way that’s never navel-gazey and always assured.
girl in red, I’M DOING IT AGAIN BABY!
Marie Ulven’s revved-up sophomore LP is both fun and uncomfortable, a poperatic portrait of the artist fucking up and learning in real time.
Cloud Nothings, Final Summer
Though continuing to build off the blueprint of 2012’s Attack on Memory, Dylan Baldi replaces some of that early release’s angst with a measured positivity on the group’s eighth album.
Reed Strength
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.