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.




Photo by Michael Muller. Image design by Gene Bresler at Catch Light Digital. Cobver design by Jerome Curchod.
Phoebe Bridgers makeup: Jenna Nelson (using Smashbox Cosmetics)
Phoebe Bridgers hair: Lauren Palmer-Smith
MUNA hair/makeup: Caitlin Wronski
The Los Angeles Issue

Sunflower Bean, Mortal Primetime
The New York trio’s first self-produced album has a smooth, consistent, quietly confident sound quality that reflects the elegance that’s always been at their core.

BRUIT ≤, The Age of Ephemerality
The French post-rock band lyrically addresses the unthinkable progress and regression of our post-internet age via droning metal and modern-classical sound on their second LP.

Fly Anakin, (The) Forever Dream
The Virginia rapper’s guest-filled latest is a stellar collection of bright, diverse, and downright gorgeous hip-hop that’s so light-on-its-feet it can sometimes feel like it’s sweeping you off yours.
A.D. Amorosi

The guitarist discusses the therapeutic jams of his sophomore solo LP under the outlet Hundred Watt Heart.

30 titles to keep an eye out for at this Friday’s annual post-turkey crate dig.

Beyond its golden coloring reflecting Coltrane’s sunburst spirituality, this reissue highlights the intertwined holy path shared with her late husband conveyed in the cosmic music she crafted in his wake.

This no-fat, all-funk debut EP is like a hard, wet kiss planted unexpectedly on your lips.

The twin neo-metal LPs incorporating bits of blues, country, punk, and classical into their tunes finally arrive together in one large package with three times the bombast.

This 5-LP collection spanning 1981 to 1990 shows that the Sheffield group were way ahead of the curve when it came to the innovations made in the name of future-looking synth-pop.

Mogwai, Man Man, IDLES, and The National are among the artists contributing chilly, distant remixes as part of this historical, 46-song overview of the krautrock duo’s original albums.

It’s the vocal textures and potent poli-sci lyricism that move all the needles on the NYC hardcore innovators’ third and most maximal album.

Capturing the mesmeric vibe and stretched compositional prowess of The Beatles and George Martin circa 1966, this lavish heavy vinyl kit meets the new expectations set by the epic Get Back.

Re-released 21 years after its debut, the producer and composer’s power-pop turn is a decorous affair with a personal and personable backstory.

His first solo album of vocal-based song since 2005 is mostly oddly beautiful and vaguely over-obvious in the lyric department, the latter strange for an Eno effort.

With Criterion Collection’s new 4K HD digital restoration out now, we revisit the industrialist nightmare of the 21st-century noir horror film.

Confusing expectations again, Rundgren’s latest seems to outstretch its long arms to accommodate guests rather than interacting in a duet setting.

Producer Larry Klein welcomes an elastic jazz ensemble to manipulate the subtle majesty of Cohen’s music for a murderer’s row of vocalists on a varied, often less-than-obvious selection of tracks.

On this lost 1957 classic, the rarity of Mingus compositions for sextet fly to the fore in vividly colorful and aptly tuned dedication to friends and fellow masters.

The psychedelic R&B of the DC songwriter’s clattering new album rings out righteously in the name of refreshed contentment and love lived to its fullest.

The debut collaboration between the two experimentalists courses through one’s evolution of self-expression while pursuing the tenderness of community.

Languid, jamming, and psychedelic, the group’s second LP of 2022 is more elastic than its immediate predecessor, and more spacious than anything since Californification.

This multi-disc collection serves to remind us that Strummer was never looking to re-make The Clash, but rather to confound the expectations of his audience and expand his own horizons.

Removing the classicism, glam-goth density, and commitment to bleeding-heart Brit-punk of previous recordings leaves nothing behind on the songwriter’s third LP.