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

Cola Boyy, Quit to Play Chess
Despite bristling with Matthew Urango’s familiar cotton-candied disco, the late songwriter and activist’s sophomore album also opens the floodgates to everything else he seemed capable of.

yeule, Evangelic Girl Is a Gun
The London-via-Singapore alt-pop songwriter continues to experiment on their fifth album, with the heaviest and weirdest moments also feeling the most authentic and energizing.

Aminé, 13 Months of Sunshine
The emcee’s third solo album blends house, hip-hop, and the East African sun to give listeners a deeply personal look at the journeyman rapper’s Eritrean-Ethiopian heritage.
James Charisma

Pick your battlefield.

He shared some insights as to how the streaming service stays above the current in a changing media landscape.

The cult podcast covering true crime, conspiracy theories, and all things spooky looks ahead to a new book and more live shows.

“The Matrix” made computers cool twenty years ago. “Wick” reminds us how unnecessary they are in making a quality action film.

Zack Snyder’s too-faithful adaptation was a harbinger of things to come—not for ’80s nuclear fears, but for meltdowns by die-hard fanatics.

Forget lusting after your mother or escaping Arnold Schwarzeneggers from the future.

The comics legend talks the future of the medium, twenty-five years of “Spawn,” and creating an upcoming film with the producers of “Get Out.”

As we continue to spin out of control in an era of endless sequels and spinoffs, it’s worth taking a look back on an epic year of science-fiction movies—and remembering what made them so damn good.