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

Fly Anakin, (The) Forever Dream
The Virginia rapper’s guest-filled latest is a stellar collection of bright, diverse, and downright gorgeous hip-hop that’s so light-on-its-feet it can sometimes feel like it’s sweeping you off yours.

Tennis, Face Down in the Garden
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.

Sarah Mary Chadwick, Take Me Out to a Bar / What Am I, Gatsby?
The deep crevices of profound dependence live within the Melbourne-based songwriter’s every word and melody throughout her grayly comic and experimentally recorded ninth album.
Kurt Orzeck

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.

The West Coast screamo quartet isn’t afraid to turn down the volume on an otherwise-blistering return to form with their most mature, expansive, and explorative record yet.

Tim Kasher discusses the themes (and interludes) of the post-hardcore band’s 10th LP and first for Run for Cover Records.

The Melvins drummer sheds light on each of the 11 songs on his newly released third solo outing, which features contributions from Tom Waits, Ty Segall, Pinback’s Rob Crow, and more.

Five albums and 15 years in, electronic wizard Robert Alfons seeks to start his musical endeavor anew—all the while wondering if a slate can be truly wiped clean.

Containing eight 7-inch singles and a bonus flexi disc of crisp recordings taken from Radio 1 performances throughout the ’90s, this box set embodies the spirit of the space cadets running amok.

On her fourth solo outing under the ambient-slowcore moniker, Madeline Johnston reaches a state of enlightenment as she sounds totally confident about her identity as an artist.

The Belfast instrumental math-rock quartet hit their groove on their seventh LP, with the perfect balance of loud-and-quiet dynamics resulting in a positively affirming—and downright fun—listen.

With the aid of Mike Haliechuk’s ever-improving production, the hardcore-punk group’s punchy sound practically jumps out of the speakers on their ferociously live-sounding seventh record.

The Cardiff seven-piece feel more comfortable with their identity than ever before on their seventh LP, a culmination of all the band’s genre experimentation over the past two decades.

The Melbourne duo opt for the less-is-more approach to heartfelt lyricism and layered instrumentals to deeply affecting results on their all-too-brief second record.

On their second album, Josh Shaw channels the momentum of emotional turmoil into a vibrant, propulsive musical feat with a bigger, bolder sound than their debut.

After a five-year wait, the French blackgaze duo explore the gamut of human emotions as they clear the high bar they’ve set for themselves on their six previous post-metal releases.

More punk in spirit than in sound, the Chicago group’s lo-fi debut is endearing if also a bit impatient as they keep things loud, fast, and heavily distorted.

The Brooklyn shoegazers forgo an understandable sense of hopelessness for an open-ended, soulfully uplifting conclusion on their sonically eclectic fourth album.

The San Francisco quartet hits the perfect balance of intimacy and exhibitionism on their short-but-sweet third album of harmony-based indie pop.

The noise-rock outfit’s relatively brief final album features their tightest material in their three-decade career while capturing their most critical characteristic: contrarianism.