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

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.

Car Seat Headrest, The Scholars
Channeling Ziggy Stardust’s glam transcendence, Will Toledo resurrects the album as a grandiose narrative vehicle while marking his valiant stride into the rock canon.

Andy Bell, Ten Crowns
The Erasure frontman works out something open and anthemic on his latest solo album, with producer Dave Audé adding subtler shades to his post-house pop mix.
Kevin Crandall

The Zambian-Canadian noise-rapper returns from a brief hiatus with an existentialist exploration of death, violence, and, ultimately, love, a textural letter to the downtrodden and the hopeless.

The Saba co-signed DMV rapper shares a boom-bap sermon to follow up his 2023 debut album Spleck.

Graham Jonson also provides some insight into the inspirations and processes that informed his upcoming album, I Heard That Noise.

An intoxicating blend of Y2K aesthetics and bubblegum pop, Black’s second album is a celebration of her musical evolution from internet laughing stock to hyperpop powerhouse.

Ahead of his new LP, we also press Will Wiesenfeld about being sampled by Charli XCX and the assessment that he’s getting “hotter and weirder” with every release.

The LA-based artist discusses the self-deprecation, imposter syndrome, and, ultimately, self-confidence of her debut album The Jester, which details her struggle to break into the music industry.

On his latest EP, the Detroit musician leans into his hip-hop roots while exploring what it means to love and resist over four quick-hit tracks enveloped by marijuana smoke.

Politically punk while sonically dance music, The B-52’s vocalist’s first solo record in nine years is a musically and thematically diverse scattershot of personal reflection and activism.

The 11 rock-out earworms chronicling depression and anxiety on the Tacoma-based group’s second LP are well worth the headache.

The Filipina-English artist’s Rick Rubin–produced third album provides a brutally realist introduction to the emotional maturation she’s undergone in the two years since her last LP.

On her studio debut, the Bronx rapper and it-girl of Gen Z’s Y2K aesthetic revivalism gives the impression of a young artist exploring her range.

The West Coast emcee shares how years of observing his TDE labelmates helped shape his new record, which was five years in the making.

On his final release with Def Jam, the Long Beach rapper builds upon his recent output to hone in on the darkness of his past while offering a glimpse into his healing process.