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

Peter Gabriel, i/o
The broadly poetic tales of ordinary madness on the Genesis co-founder’s first LP of new original material in over two decades are often spare and daringly melodic.

House of Harm, Playground
The Boston-based goth-pop trio scratch a unique itch on their more complex sophomore record by expanding their aesthetic to incorporate Midwest emo vocals.

Full of Hell & Nothing, When No Birds Sang
The six collaborative tracks from the Maryland grindcore outfit and Philly shoegazers stretch both bands into new compositional terrain in addition to playing to each group’s strengths.
Jeff Terich

The six collaborative tracks from the Maryland grindcore outfit and Philly shoegazers stretch both bands into new compositional terrain in addition to playing to each group’s strengths.

On their debut full-length, the Bay Area group polishes their punchy, fun-as-hell garage-punk anthems into radio-friendly bursts of big hooks and bigger guitars.

On their more urgent and improvisational second collaborative release, Jenny Hval and Håvard Voldent trade in the aesthetics and gloomy guitar of post-punk more so than electronics.

The artist formerly known as Lingua Ignota talks letting go of her former project to begin the weird process of healing.

The quartet’s thirteenth LP finds them embracing the most hypnotic aspects of their sound while emphasizing the organic physical chemistry between the musicians established over two decades.

Lou Barlow and John Davis discuss reissuing their score to the controversial 1995 film and reckon with its hit song.

The former Fuck Buttons member’s third solo LP is marked by floor-shaking beats, powerful synths, and a reverence for spaciousness that gives each song the opportunity to breathe.

The cult post-punks ease into a more accessible form of noise rock than their skronkiest early works exhibited that nonetheless feels like a natural progression from where we last heard them.

Patrick Stickles discusses the group’s new album The Will to Live, out this week via Merge Records.

On the follow-up to their 2017 debut, the Bristol punks are louder, fiercer, and entirely more vulnerable.

photo by Ray Lego
Mackenzie Scott maps out the mental spaces, color palettes, and newfound sensuality that influenced her third LP.

Don’t call it slacker rock, but the Atlanta trio provide only the bare minimum.

Having formally stepped away from the Pharmacists for the first time in his career, Leo is taking a new approach at this whole rock star thing.

photo by Lance Laurence
The baddest dudes in Hotlanta know how to find the weird wherever they go.

More than anything, “Goths” seems to operate like an extended love letter to the oft-misunderstood subculture.

“The Far Field,” much like Future Islands albums that preceded it, is a deeply romantic album.

Ty Segall / photo Denée Petracek
Having conquered a variety of genre albums in recent years, the genre this time around is that there isn’t a genre—just a dedication to the sanctity of the music and music alone.

After their strong debut found them playing to passionate crowds, controversy over the Calgary band’s original name caused them to retreat and regroup. Now they’ve returned with a new name and a second debut record that might be darker—and more powerful—than the first.