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

Alan Sparhawk, With Trampled by Turtles
Far more mournful than his solo debut from last year, the former Low member’s collaboration with the titular bluegrass band is drenched in sorrow, absence, longing, and dark devastation.

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.
Juan Gutierrez

On their fifth effort, the punk hooligans entrust their signature brash energy and cutting vulnerability to iconic producers Nigel Godrich and Kenny Beats, who help them create their most transformative record to date.

Channeling grunge, slacker rock, and various other ’90s alt-rock subgenres, the debut from Kane Strang’s new band is a fuzzy, explosive, and melodic ride.

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.

This brief but sweet collection seems to use the template of the changing seasons to showcase the Chicago-based songwriter’s ability to create entrancing dream-pop compositions.

Taja Cheek’s third LP exhibits fewer elements of neo-soul, instead displaying some of her most intricate and engaging rock-inspired compositions to date.

The Singaporean songwriter and producer diverges from the predominantly gitchy stylings of their previous release and explores heavenly sounding guitar-based melodies.

The neo-soul/post-punk songwriter languishes in the absurd with a carnivalesque yet life-affirming journey on his sophomore record.

The Oakland-based songwriter’s fourth record is a tale of self-discovery that wields soothing, jazz-infused pop melodies as scaffolding.

On his third solo album, the Wand frontman invites harmony, absurd yet heartfelt lyricism, and distorted electric guitar into his surreal, carnivalesque Western world.

On her fifth solo album, Williamson avoids one-dimensional break-up clichés to create a complex work of conventional country-style riffs and more modern instrumentation.

The sophomore record from the Atlanta-based songwriter walks a tightrope between modern R&B and vintage funk and soul in order to best demonstrate the power of her voice.

Luz Elena Mendoza Ramos talks about whiteness and misogyny, therapy and healing ahead of the release of their indie-folk project’s seventh LP.

Reissued on standard black vinyl, the late rapper’s 1999 debut is bursting with contradictions and muddled by bizarre rhyme schemes—yet somehow manages to overcome them.

The punk duo’s latest EP is more harmonious, reflective, and lyrically mature than previous outings as they maintain their goal of destabilizing patriarchal thinking.

By stepping away from the role of percussionist to focus on the album’s conceptual structure, the Radiohead drummer has created his most complex and exciting solo work to date.

On his label debut, Noah Weinman’s production creates an effervescent soundscape that gently embraces lyrics of loneliness, hope, insecurity, and anxiety.

The latest reissue of the LP that firmly established the new wave group’s sound packs a healthy portion of demos and session recordings.

The London duo’s third full-length is a shoegaze-inspired examination of mental health that lifts you up despite its undercurrent of darkness.

The debut solo LP from the BADBADNOTGOOD multi-instrumentalist is an evocative exploration of atmospheric string arrangements and cool, moody jazz lines.

The Canadian indie rockers’ groundbreaking 2002 debut contains upbeat melodies, surprisingly complex lyrics, and a nostalgic charm that make it just as enjoyable today.