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

Frog, 1000 Variations on the Same Song
The NYC indie-folk duo’s sixth album is a wonderful rumination on the perceived limitations of songcraft, using its 11 tracks to demonstrate the infinite approaches to universal themes.

The Altons, Heartache in Room 14
The Southeast LA band takes bold risks on their sophomore LP, blending Latin soul, Motown blues, psychedelic rock, bolero, and just a bit of their punk roots with a vintage production sheen.

Horsegirl, Phonetics On and On
On their Cate Le Bon–produced second album, the Chicago trio reflects the fragmentation and uncertainty of geographical change by experimenting with a more minimalist, primitive palette.
Jason P. Woodbury

photo by Clayton Cubitt
Some questions are more complicated than they seem.

The LA quartet has crafted one of the most pleasurable sounding records you’ll hear this year, the idea of personal liberty permeating the record’s warm grooves.

Plus: You’ve been calling Kenny Loggins by the wrong name all these years.

“Dirty Projectors” can at times be exhausting, and its density can feel crushing, but at their best, David Longstreth’s songs center on connection.

While so often synthesizer music seeks to make the listener feel weightless, Jaime Fennelly finds beauty in binding, securing forces.

On their second album, the Montreal quartet drill deep into the concept of groove.

Indie vets Chavez return after a twenty-year recorded absence with a surprising, vital set of songs.

After pop stardom, the “She Blinded Me with Science” singer set his sights on the intersection of music and technology.

Like so many retro-leaning artists before him, Donald Glover riffles through classic sounds for a lens through which to view his modern anxieties.

How a comic about an anxiety-ridden “little gentleman” with a serious aversion to liver and onions became one of the most beloved cartoons of its era.

YOU’RE THE WORST — “Talking To Me, Talking to Me” — Episode 310 (Airs Wednesday, November 2, 10:00 pm e/p — Pictured: Chris Geere as Jimmy Shive-Overly. CR: Byron Cohen/FX
The co-star of FXX’s alchemical comedy talks the season three finale, what to expect next—and the special linguistic privileges afforded the British.

The Gulf Coast humidity means things often get melded in Houston, but one gathering is blurring the line between music festival and art installation in a new way.

This isn’t your grandmother’s cross-stitching. Unless your grandmother has a thing for Paul Thomas Anderson and has sold work to Ai Weiwei.

As he did throughout the tenure of The Weakerthans, Samson on his second solo record resolutely resists the tropes that so often plague singer/songwriters.

On their eleventh LP, our finest chroniclers of life below the Mason-Dixon explore the duality of the American thing.

Death has always loomed over Canadian post-punk band Preoccupations.

Nathan_Bowles-2016-Whole_and_Cloven
The elements here are simple, but in Bowles’s capable hands these common tools are utilized in marvelous ways.

Thee Oh Sees “A Weird Exits” cover
John Dwyer’s long-running powerhouse builds on the expansive sound of last year’s “Mutilator Defeated at Last.”

The Topanga Canyon singer/songwriter/producer’s second LP—and Sub Pop debut—is defined by an immaterial dreaminess.

Pylon “Live” cover
Chunklet releases a live recording of the vital Athens band’s final live performance before their 1983 breakup.