Issue 120

Kendrick Lamar’s surprise new record, even once it’s separated from its unexpected (and sort of bizarre) release and its weird song titles, still gives us a lot to think about as it begs repeat listening and think pieces. Read more.

Jacob Andersen’s debut record is totally different from what you might expect from the Games of Throne actor: it’s an uneven mix of R&B, electronic, soul, and hip hop that feels positively alive. Read more.

The Toronto band’s debut EP is a massively enjoyable record that’s not satisfied with generic riffs or well-trodden musical roads. At once familiar, but often surprising, HIGHS feels exciting and vital. Read more.

Nathan Jenkins’ debut record as Bullion, a long time coming, is filled with approachable and interesting electronic songs that are more interested in experimenting with pop formulas than they are in embracing the latest club trends. Read more.

Despite remaining lovingly spastic and experimental, Canadian artist Grimes’ fourth album is her most approachable. Read more.

It’s easy to find fault with The 1975’s radio-friendly-despite-itself sound, but their sophomore record is a bold record that sounds sincere despite its grandeur and strong in identity despite its total ignorance of any sort of “genre standard”. Read more.