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

Lorde, Virgin
The pop star retains the tainted-love throb of electro rhythm on a fourth LP that’s high on affection, low on gloss, and geared toward transcendence and sneaky sexuality.

Frankie Cosmos, Different Talking
Greta Kline’s sixth album finds her clicking with her new band, lending these songs a DIY quality reminiscent of her early demos despite digging into themes exclusive to adulthood.

BC Camplight, A Sober Conversation
The UK-via-NJ songwriter’s blackly comic neo-chamber-pop missive on sobriety still manages to speak to the upbeat without a snip of excess emotion.
A.D. Amorosi

Iggy Pop’s last gasp with the original Stooges is hyper-energized and essential listening alongside the official canon.

The glam-punk guitarist has passed away at the age of 69 after a two-year battle with cancer.

The Apple TV+ series and forthcoming feature prove that the director/writer still has many scary tricks up his sleeve.

A colour-enhanced image of English singer and musician David Bowie, exaggerating his heterochromia iridis, 1973. This photo was taken in Paris during a photoshoot for Bowie’s ‘Pin Ups’ album.
Mike Garson, Michael C. Hall, Duran Duran’s Simon Le Bon, and more discuss their multimedia celebrations of Bowie on what would have been his 74th birthday.

12 records we were pleased to see renewed and revamped.

If anything was an enabler of glam pop, it was “Lola.”

JPEGMAFIA keeps it mean while on the major label tip.

The Cornell estate gifts us with 10 subtle covers focused on melodic gems with a soft ensemble as backing.

The filmmaker talks profiling MacGowan, Johnny Depp’s role in the project, and peroxide-haired ’80s punk.

By his lonesome, Richard H. Kirk is still making endearingly intrusive electronic noise with nagging catchiness in its subtle hooks

The Tool and A Perfect Circle frontman and bandmate Carina Round talk the band’s latest record, “Existential Reckoning.”

What we’re excited for on the last weekend of RSD’s pandemic-necessitated four-part event.

Jarvis Cocker, at his home in the Peak District, UK. June 17, 2020.
Tom Jamieson for The New York Times
In support of his new concert film, Cocker recalls his slow adaptation to live performance and explains his unexpected obsession with caves.

No one’s excesses are as glorious and ornate as Elton John’s.

This recording of Cave’s tearful solo performance offers warmth, elegance, and smart solace.

The reissue of Costellos’ maximal-overdrive third LP manages to sound crisper than its original recording.

Khan’s jazz album is a logical continuation of the merry-making avant-garde that defines every other KK record.

“Knives” is the sound of a pre-pandemic band going for all the weird gusto they can.

The incendiary music-making trio from Colombia’s Caribbean coast fuse Afro-house and Indigenous rhythms with a frank, humanist political stance.

The animated four-piece host the wildest, most guest-heavy apocalyptic party since “This Is the End.”