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

Ben Kweller, Cover the Mirrors
Dedicated to his late son, the former grunge-pop wunderkind crafts something both touching and infectious as it moves through the stages of grief like landmarks on an epic summer tour.

Lil Wayne, Tha Carter VI
Upholding his fascination with the crunch and snap of shiny alt-rock, Weezy’s sixth chapter of his ongoing soap opera is as eclectic as its list of features might suggest.

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.
A.D. Amorosi

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.”

What we’re excited for on the third weekend of RSD’s pandemic-necessitated three-part event, ahead of its November Black Friday finale.

The industrial hip-hop group’s allegorical monsters are all too real on their latest LP.

Though recorded in a pre-pandemic setting last winter, “Letter to You” feels unusually safe.

The Kentucky-born-and-bred singer-songwriter is shutting down small-minded prejudices.

Garzón-Montano has created one of the most thought-provoking and atmospheric R&B albums of 2020.

The “Gimme Some Truth” box makes Lennon’s solo output sound better, brighter, and of a piece.

The mostly vocal album plucks from all that made the Sonic Youth dynamic so prickly and daring.

The Chilean-French artist moves from the screen and the page to the human body with his new film, “Psychomagic: A Healing Art.”

“New York” gets the deluxe box set treatment this week, while “Drella” gets a Record Store Day release three weeks later, a first on vinyl.