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

Sufjan Stevens, Carrie & Lowell [10th Anniversary Edition]
Padded out with a personal essay, family photos, and outtakes, this re-release of Stevens’ album-length eulogy permits yet another return to the 1980s Oregon of the artist’s memory.

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.
Kurt Orzeck

Regaining the fast momentum with which they released their early material, the instrumental post-rockers’ ninth LP is defined by a meditative feel coursing through the songs’ proverbial veins.

Serving as a refresher course alongside the band’s reunion, this quasi-greatest-hits collection cements Jenny Lewis’ status as an indispensable figure in the lineage of indie-rock songwriters.

The Calgary post-punks couldn’t sound more comfortable in their own skin on their ironically titled fifth album, which seamlessly alternates between joyful and haunting moods.

Andy Falkous walks us through each track on the British post-hardcore trio’s propulsive, attention-demanding first album in over 20 years.

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.

The Sprain offshoot’s ambitious hour-long, single-track debut album Motherfucker, I am Both: “Amen” and “Hallelujah”… is out now.

The Swedish post-punks’ fourth album combines half-assed humor with half-assed performances, filling in the void left by guitar-centric punk with demented synth tinkering.

The New York trio’s first self-produced album has a smooth, consistent, quietly confident sound quality that reflects the elegance that’s always been at their core.

Scottish twins Rachael and Paul Swinton reveal how they leaned on members of Mogwai and Portishead to reach new artistic heights on their third minimalist alt-pop LP.

The husband-and-wife duo calmly issue forth their always whimsical yet never overly precious musical blend of psych-tinged indie-pop from start to finish on their seventh and final LP.

The Montreal-via-Japan septet wed their distinct take on Japanese eleki music with the roleplaying mega-series via the whimsical ambiance of this musical accompaniment.

Transfixing from start to finish, the South Texas shoegazers’ debut is a dynamic, undulating audio portrait of the ups and downs of existence.

The first offering from the noise-punks’ new album Don’t Tell My Parents is a red-hot mess they refuse to clean up.

George Clarke discusses themes of self-mythology, sobriety, and ephemerality in the blackgaze band’s sixth album.

Frontman Peter Pawlak introduces us to Seen Enough, the Bay Area hardcore-punks’ debut EP for Closed Casket Activities and first collaboration with producer Jack Shirley.

This ephemeral EP feels like a placid segue from 2023’s No Highs, even if it largely just serves to chronicle the ambient composer’s recent film and TV work.

Julia Kugel introduces her new Suicide Squeeze all-star band featuring members of Death Valley Girls and The Paranoyds, who just released their debut single: a cover of Lync’s “Cue Cards.”

The sludgy noise-punk trio brings equal levels of ferocity, fearlessness, and foolishness to their seventh albums as they did their first.

The experimental quartet piece together snippets of discordant, angular, and off-tune notes to create a tapestry paying tribute to NYC’s no wave and noise-rock scenes.

Mapped out in accordance with the five stages of grief, the LA-based artist’s third LP serves as an instruction manual on how to cope while also expanding their bedroom-pop palette.