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

Gloin, All of your anger is actually shame (and I bet that makes you angry)
On their second album, the Toronto band taps into the fury of their post-punk forebears with a polished set of psychological insights that feel angry in all the right ways.

Great Grandpa, Patience, Moonbeam
An experiment in more collaborative songwriting, the band’s highly ambitious first album in over five years truly shines when all of its layered ideas are given proper room to breathe.

Bryan Ferry & Amelia Barratt, Loose Talk
This ghostly collaborative album with spoken-word artist Barratt finds the Roxy Music leader digging his own crates for old demos and warped melodies that went unused until now.
Kurt Orzeck

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.

John Dwyer reteams with OG Oh See Brigid Dawson for 70 minutes of messy, bootleg-quality live material mirroring their early lo-fi collaborations.

On her solo debut, The Breeders band leader abandons sarcasm and lo-fi aesthetics in favor of florid arrangements that frame a far more sensitive side of the songwriter.

Juxtaposing a love of sewing with 13 minutes of whiplash-inducing, eardrum-destroying atonal assaults, the Brooklyn duo’s latest EP is yet another confounding product of twin telepathy.

The Leeds pranksters’ second album is a mixed cocktail deviating from traditional proto-punk by lacing songs with ’80s synth lines—and, of course, bars about wokeness anxiety.

The Colorado heavy rockers’ fifth and final record exhibits their broadest sense of appeal, ranging from aggressive noise rock to catchy post-hardcore hooks.

At various turns haunting, alluring, catchy, and confident, the Jacksonville shoegazers’ well-considered debut introduces the band with aplomb.

Climbing out of the black-metal pigeonhole, the Portuguese group sound more confident and creatively unrestrained on their fourth album rather than merely louder.

Frontman Eugene S. Robinson and bassist Andrea Lombardini help us digest the noise-rockers’ collaboration-filled fourth album.

As they continue to forge new paths for the subgenre, it often feels like the Denver technical death metal band is doing too much on their third album.

The 11 eloquently imperfect recordings on the hardcore punks’ sixth album harness the anger that shakes them to their core as they take aim at wishful thinking and our imminent demise.

The Finnish avant-garde quintet’s sixth album is challenging from start to finish, managing to heap even more styles onto their mesmerizing blend of black metal and psychedelia.

Each song on the noise-rockers’ seventh LP is distinct in style and substance, allowing Oliver Ackermann to tap into his emotional self as if looking through a slowly twisted kaleidoscope.

David Yow and Duane Denison discuss Rack, the noise-rock legends’ first new record in 26 years, and how the world has changed in the interim.