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

Bruce Springsteen, Tracks II: The Lost Albums
This new box breaks down seven well-framed sets of sessions spanning 1983 to 2018, essentially designed as full-album capsules of mood previously deemed unfit for canonization.

Gelli Haha, Switcheroo
The songwriter’s debut is carefree, sleazy, fundamentally arresting dance music—a multi-sensory circus serving to wallpaper the halls of dance-pop history with neon, acid-tinged nonsense.

Wavves, Spun
The LA band’s eighth LP eschews distortion in favor of a cleaner pop-punk sound that both spotlights Nathan Williams’ songwriting chops and dulls the project’s compelling eccentricities.
A.D. Amorosi

The reissue’s added tracks are all contextual red meat—no gristle or fat.

The ambitious rapper/producer opens up about his legacy and family.

Cellist Maya Beiser and pianist Mike Garson discuss translating the artist’s work into something new.

Though he suspects he has the virus, EOB’s record remains on track for release April 17.

This album offers up some of his best performances, wryest lyrics, and most experimental arrangements in years.

The French artist is among the most influential of the disco era, and one of dance music’s first trailblazers.

A show of unity between Texan soul makers.

The sessions that fill this box are those where Davis left flirty, speedy bebop behind for slow, hard bop.

Like the gluttonous Reagan era in which it was born, the new “1999” is explosively opulent and appropriate for the Trump moment in its excess and mess.

Jim’s son Chris and producer Al Dobbs give their thoughts on the songwriter’s disappearance and why his music lingers on.

In some ways, it’s more like Adam Cohen’s love letter to his father’s artistry than a final statement from the late poet.

Dylan revered the outlaw Cash, and Cash admired the wordsmith Dylan.

Three albums in, Taylor Hawkins and the Coattail Riders feels like a vacation for the Foo Fighters drummer.

The iconic rocker goes home to Detroit for a different brand of shock and awe.

While most legacy rockers are hitting the road rather than bothering to write new music, Young refuses to stop inventing.

While the original albums sounded surprisingly grey, this curation of solo output is hotly in-the-red, remixed and boldly remastered.

Nick Cave moves across his most lush and lovely melodies yet in a voice that burrows deeper than ever before.

The Blondie frontwoman on new memoir “Face It,” how the internet has changed music, and what’s next.

Digging into the brand new Giles Martin re-release of the iconic album on its fiftieth birthday.

After a two-year writing process, the funkadelic Atlanta hip-hop duo’s debut is here in all of its natural glory.