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.
Flying Lotus, Spirit Box
This five-song EP offers a sense of where Steven Ellison’s futuristic agenda lies in 2024: between the breezy fusion-funk of the 1970s and the discoid, bouncy house music of the ’80s.
Tyler, the Creator, Chromakopia
Whether tenderly crooned or roughly rapped, whether stoically alone or with a crew of features, the songs on the rapper’s eighth LP find him calling into question his past, present, and future.
The Cure, Songs of a Lost World
The lyrical doom and gloom that matches the music’s slowed, metallic, ethereal ambience on the band’s first record in 16 years focuses very pointedly on true death.
Cameron Crowell
WHAT ARE YOU HIDING PUNY HUMAN JOHN DWYER, RING POSSIBLY?
The world’s best American band proves it all night.
During times of protest, resistance is sometimes reduced to consuming the right media. Sheer Mag are a big fuck-you to that type of complacency.
“Soft Sounds” shows Michelle Zauner constantly reinventing herself, proving that she can dabble in any genre and produce something that stands with the best of them.
In the fractured Age of Trump, listening to voices from outside of the mainstream is more important than ever.
There’s a perpetually moving world out there.
On her latest with Cold Beat, Hannah Lew toys with the false dichotomy that implies that the complicated and difficult-to-listen-to have inherently more to say than a simple, accessible pop song.
The Chicago quartet give sunny garage pop a melancholy tweak.
Le Bon’s music lives in an alternate universe—one that’s nearly identical to ours, but laden with a persistent feeling of anxiety.
Behind the blur of words and scrim of melodrama, Amy Sherman-Palladino’s beloved series shows us a buffoonish tyrant at work.
There’s a new texture and flavor to the raw, pouring-salt-on-a-wound sadness coming out of Torrance.
Don’t call it a breakup record.
The Memphis band’s grinding, atonal punk is matched by their dedication to garage-rock bombast.
Cameron Crowell spent the summer cleaning up barf while “Pour Some Sugar on Me” blasted from speakers overhead. And yet: he’s still alive.