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

Keep, Almost Static
Toiling away at creating a style all their own for over a decade, the Richmond group’s latest LP exudes a sense of freedom in their doomsday shoegaze sound.

Rhys Langston, Pale Black Negative
The LA-based artist’s most comprehensive foray into genre abolition yet is a whirlwind of artistic exploration that sees the songwriter coloring well outside of hip-hop’s lines.

Subsonic Eye, Singapore Dreaming
The Singaporean indie rockers’ jangly fifth record proselytizes the beauty of the natural world, providing hope with deliriously catchy tunes that channel ’90s groups like Superchunk and GBV.
Jon Pruett

The latest release from the Numero Group chronicles the pop sounds of the African country of Upper Volta in the ’70s.

The Nashville quartet choogle with the best of ’em.

The Long Island brothers practically have glitter in their blood.

The UK duo’s third album in as many years finds them pushing the boundaries of their sound.

Navel-gazing R&B is in high demand in 2016, but Blanco navigates this world like she’s the first person on Mars.

Ben Sinclair in “High Society” / photo by Craig Blankenhorn
HBO’s new comedy series wandered into pay cable from the dank world of Vimeo.

Partly singing and partly talking, Anika presents an external dialogue of thoughts and dreams.

Everything is aflame on “Operator,” a vigorously aggressive dancefloor party fueled by a jarring punk ethos.

The Avalanches / “Wildflower” cover
How do you follow up a sixteen-year-old plunderphonic pop masterpiece? With a neon-tinted mixtape.

photo courtesy Now-Again Records
Uchenna Ikonne on the little-known Nigerian rock scene of the 1970s.

Top Gunn!

Konono No 1 Meets Batida cover
The Conogolese rhythm aces’ hypnotic swirl of customized kalimbas and booming, trance-inducing percussion gets smoothed over—but only slightly.

On his third album, Morby continues to carve out a rarefied space.

What’s surprising here is not just how well these two acts sound together, but the heretofore-unknown third element that arises when they combine.

2016. Prince Rama Extreme Now cover hi-res
It’s an endless rush of sugar and data.

2016. Chris Forsyth and the Solar Motel Band, The Rarity of Experience cover (1200x)
The band, a riotous mixture of Crazy Horse and The Dream Syndicate, excelled at drawing droning, melodic riffs and elongating them into eight-minute-plus excursions on their debut, and “The Rarity of Experience” dives right back in.

2016. Matmos Ultimate Care II coer hi-res
The guiding question here: how do you make a nearly forty-minute piece of music comprising only the sounds of a Whirlpool Ultimate Care II washing machine?

2016. Lush Chorus cover hi-res
Nothing visionary here, but it’s a pleasant enough musical journey with a serious bummer of an ending—hopefully one vindicated by this reunited victory lap.

2016. Hinds Leave Me Alone cover hi-res
Imagine a world where pop songs are written on an acoustic guitar, amped up with a beater of an electric guitar, and then fashioned together with duct tape.

2015. W-X, “W-X”
“W-X” provides plenty of fodder for hungry minds looking to go deeper into rarefied zones.