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.
Melvin Van Peebles, Watermelon Man [Reissue]
The 1970 film’s OST is one long, funky collage moving jarringly from blues, jazz, honky-tonk, ragtime, rock, country, and R&B without distinction between the lines.
This self-titled LP is as close as an album can come to a kind of VR experience: alive, fluid, breathing in an artform that typically feels far more passive.
Bey’s seventh solo album is about abandon and joy, something celebratory that hasn’t been in her music since 2006’s B’Day.
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.
Trending up: huskies. Trending down: bull terriers.