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

Shura, I Got Too Sad for My Friends
Electro-pop and dreamy grooves are largely replaced with rich ’60s-style folk-pop on the artist’s isolation-inspired third album, wherein self-doubt feels like a secondary character.

Pulp, More
The Sheffield art rock ensemble’s first album in nearly 24 years still maintains their Kinks-y kitchen sink dramatics in opposition to Oasis’ Beatles-like demeanor and Blur’s operatic Who-ness.

Sufjan Stevens, Carrie & Lowell [10th Anniversary Edition]
Padded out with a personal essay, family photos, and outtakes, this re-release of Stevens’ album-length eulogy permits yet another return to the 1980s Oregon of the artist’s memory.
A.D. Amorosi

The British comedian isn’t laughing anymore (well, not while making his seriously soulful psychedelic music).

We talked to curator Lee Foster about the new site he’s running with the Johnston family to share the late songwriter’s visual art.

This posthumous LP is less a grand finale summing up a career than it is another piece of a greater puzzle.

This remastering of the ex-Beatle’s solo debut sees wealths of emotion poured out in ways previously unimaginable.

On the future-looking new releases from Dr. Lonnie Smith and Delvon Lamarr Organ Trio.

Overstuffed and unified, this deluxe reissue has all the freneticism of its initial ideal whole.

The EP feels more like a party with friends discussing the nation’s state of shock than it does a staid studio session.

Re-released on red vinyl by Nonesuch Records, this major-label debut is still a delectably odd beauty.

Producer Andrew Loog Oldham and documentarian Mary Wharton contextualize The Poet and The Poet II on the event of the albums’ reissue.

The keeper of the castle that is Jamaican music, Patricia Chin tells the story of her life’s work with “Miss Pat: My Reggae Music Journey.”

Early synth designer-producer Margouleff talks about the late great producer, the 50th anniversary of Tonto’s Expanding Head Band, and helping Stevie Wonder innovate.

Pharoah Sanders and Floating Points have created a vintage vibe noir masterpiece for the 21st century.

“L.W.” is the fussier second half to the brutal “K.G.,” a glistening yin to its toughened yang.

On his first solo record in 30 years, Leary reconvenes Butthole Surfers–style caustic silliness.

This mini-box features fluidly funky outtakes from often-neglected album sessions, together with a mystery recording with George Harrison.

The Anglo-Franco icon discusses the ghosts that fill her recent album “Oh ! Pardon tu dormais…”

Gallo’s latest is more softcore, left-field hip-hop and gentle psychedelia than his usual punk/pop vibe.

The pair’s latest is a theatrical, diabolically abstract, and damningly depressive work with a blinding brightness at the end of the tunnel.

Younge’s bold new music/spoken word LP is his most stirring, politicized, and down-to-earth release to date.

Shaka King’s new movie examines the largely untold story of BPP Chairman Fred Hampton, whose assassination was instigated by the FBI.