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

Devendra Banhart, Cripple Crow [20th Anniversary Deluxe Edition]
Further extending the LP’s dimensions, this reissue adds a third disc of outtakes, B-sides, and demos that only serve to fortify the project’s sonic asymmetry and emotional, quixotic lyricism.

Die Spitz, Something to Consume
With their Will Yip–produced debut, the Austin punk quartet has something to say about postmodern society in 11 metal-fusion tracks ripe with political turmoil and skatepark angst.

Shame, Cutthroat
The UK rockers don’t mince words on their fourth studio album, pairing their infectious proto-punk grooves with nakedly hedonistic lyrics.
Dustin Krcatovich

Allison Crutchfield, Kyle Gilbride, and Jeff Bolt were just getting started when Swearin’ first called it quits. But then they said fuck all that and made something new.

From his work in his local hardcore scene to his gentler solo efforts, the West Bay riffer continues to do things his own way.

One of the world’s preeminent record collectors talks shop on the occasion of his new comp for Mexican Summer/Anthology, “Feel the Music Vol. 1.”

Before peeling off to Joshua Tree to play at Desert Daze, Pedrum Siadatian talks the art of making covers.

The architect of modernist music and his classically trained son take their playful improvisation to Joshua Tree.

Eduardo Williams’s latest film reads like Linklater’s “Slacker” for the global post-Internet age.

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