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.
The final story in our three-part interview series on the future of Quality Control Music focuses on the Milwaukee emcee and her Arkansan labelmate, and includes an exclusive “Neighborhoods” performance from Lakeyah.
The second in our three-part interview series on the future of Quality Control Music hones in on two artists at the center of QC’s global vision, and features exclusive “Neighborhoods” performances from both artists.
The first in a three-part interview series on the future of Quality Control Music—the label that launched Migos, Lil Yachty, Lil Baby, and City Girls—starts at the top with a conversation with the rap-dominating label’s CEO and COO.
billy woods and ELUCID tell us how their recent record with The Alchemist came together, and share a few of their favorite Alc records.
Walker’s latest is a powerful record of prog and jamming and lyrics that are just clever enough to not be silly.
The ensemble’s 7th album is resistance music built off the back of the most difficult year in the modern era.
Florence Shaw’s biting delivery steals the show and elevates the album to great heights.
The Fresh & Onlys vocalist’s latest illustrates why he’s a trusted source for catchy hooks and jangly tunes.
The co-director of the new documentary on the outlaw country icon discusses her film and Clark’s influence on her life.
This deluxe edition offers a nice slew of remixes and demos, but its best function is a reminder of how good TPC was the first time around.
The album functions as a sample pack for aspiring producers, introducing a number of styles that Muggs handles with ease.
Jeremy Earl and Glenn Donaldson construct an effortless cascade of pastoral psych-folk on their debut.
The pair’s second release of 2021 smoothly builds on the chemistry they established on that first tape.
The band talks addiction, recovery, and their hiatus—and how these elements led to their heaviest album to date.
The musician talks grief, her memoir, releasing songs without the pressure of a record press cycle, and her struggle with writing happy tunes.
Yoni Wolf details the impulse and happenstance that informed the band’s fractured new album.
Following the band’s Shaky Knees set, Conor Murphy wrestles with musical and existential questions.
There are fewer layers, less fireworks; every part coalesces quietly.
When they’re not on the road, James Petralli and Steve Terebecki are taking creative control with their own studio.
On “Guns,” the Detroit rapper continues to defy assigned labels.
The first-time filmmaker on becoming a documentarian-of-all-trades—and trying not to miss anything.
Tired of waiting for everyone else to join them, Kool Keith, Dan the Automator, and DJ QBert have touched back down on Earth.
With A24’s latest triumph now in theaters, Stetson walks us through his collaboration with director Ari Aster and the film scores that have shaped his work.
La Luz are turning their garage rock early days into something shimmering and alluring, yet laced with venom and sharp edges.
On her debut solo LP, H.C. McEntire remains an effusive, unrelenting force amidst a shifted landscape.
The Montreal pop duo experiments with optimistic themes on their latest musical cocktail.
The Savages guitarist walks us through the making and spirit of her score for Nick Ebeling’s new Dennis Hopper documentary.
“Ga Ga Ga Ga Ga” is the logical conclusion of Spoon’s commercial appeal and their innovativeness, an effort seamlessly weaving between earworm melodies and genuine experimentation.
Sometimes the best things are the ones that remain the same.
Detroit’s most amiable punks explores their sound and considerably extend its boundaries.
From a quiet, smooth opening, Kamasi Washington’s new EP grows to enormous heights.
Frost’s music can be grating, obstructive, evil, sinister, and ugly. Yet there’s something both charming and beautiful in how he embraces these characteristics.
Maker and Campos find a way to bring their collaborators toward their sound, not the other way around, and the results are outstanding.
Most of all, Bronson simply seems fully in control of the world he’s created on “Blue Chips 7000.”
On their first record in five years, the venerable group starts small.
This is how most of “Popular Manipulations” works: starts modest, grows bolder, ends up on a mountaintop.
It took eleven years, but the Japanese songwriter has returned.
Tyler’s always been an immensely talented producer and rapper, but he’s never put together an album as cohesively as he does here.
We speak with the Seattle legend to figure out how, exactly, he always stays one step ahead of the game.
A death-defying trip to Glacier National Park inspired the Austin band’s new record.
Ernest Greene is a new musician on “Mister Mellow,” and the results are often outstanding.
The well-traveled musician seeks a quiet place to reflect on his old life as a city dweller.
The British producer and sound collagist talks about opening himself to collaboration and simplifying his sound on his latest—and best—album, “Compassion.”
Ascending to heaven comes with a steep caveat.