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

Jenny Hval, Iris Silver Mist
The Norwegian art-pop songwriter’s seventh album aims to incorporate senses beyond sound to more completely immerse the listener (and smeller) into her constructed domestic space.

Regal Cheer, Quite Good
At under 20 minutes, the sophomore album from the endearing Brighton duo is a jolt of punk-rock beauty, blissfully shambolic from start to finish.

Model/Actriz, Pirouette
The NYC-based project’s second album delights in its confident sense of chaos, with vocalist Cole Haden knowing full well there’s no way we’re going to avert our gaze for a single moment.
Jon Pruett

2014. Thurston Moore, “The Best Day”
You don’t need to hear this record for more than four seconds before you realize who is wielding that guitar like a piece of errant shrapnel.

2014. Foxygen, “…And Star Power” album art.
What makes Foxygen’s third album so fascinating is how close they are to falling apart sonically, as if the more delicate songs were one beat away from collapsing into a pile of drumsticks and glitter.

Get Yer Body is originally from 2003, and it’s a sandblasted spin on garage rock with nearly every song clocking in under two minutes.

2014. Adult Jazz, “Gist Is” album art.
The debut songs from this new Leeds-based quartet hover between chin-stroking artfulness and joyful minimalism.

2014. Spider Bags, “Frozen Letter” album art.
Their world is one of blazing ’60s frat-rock with twisted, fuzz-laced psychedelic outros.

This reckless, wayward pop song, with its bright organ flourish (from Martin Phillipps of The Chills), and its dashed-off immediacy still sounds shockingly out-of-time.