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.
Saint Etienne, The Night
Over 30 years after their debut, the Vaseline-lensed electro-pop trio still titillates without any consideration of boundaries as they continue their recent shift toward spectral-sounding gravitas.
Daft Punk, Discovery [Interstella 5555 Edition]
Reissued in honor of its complementary anime film’s 20th anniversary, the French house duo’s breakout LP feels like a time capsule for a brief period of pre-9/11 optimism.
The Coward Brothers, The Coward Brothers
Inspired by Christopher Guest’s recent radio play reviving Elvis Costello and T Bone Burnett’s 1985 fictional band, this playful debut album proves that this inside joke still has legs.
Kurt Orzeck
Day eighteen of Red Bull Sound Select’s 30 Days in Los Angeles speeds into punk territory with a fiery show led by No Age.
Catching up with the Los Angeles–based artist on the occasion of his Star Wars–themed FLOOD Gallery show
The creators behind 30 Days in LA’s iconic show posters talk about their inspiration.
“Prescient” is a word that gets tossed around often, but Maserati deserve a hearty pat on the back for coming up with a retro-rock sound about fifteen years ago.
The angel-voiced artist behind massive single “Younger” talks about overcoming fear and finding her own style.
Bigger and louder isn’t always better, and it’s impressive that such a young band has already figured this out.
“New Bermuda” is the new black (metal).
With “V,” Wavves haven’t completely given up yet, but they certainly aren’t trying anything new, either.
From the depths of a dusty living room, New Zealand trio Salad Boys cobble together one the year’s most auspicious indie-pop debuts, “Metalmania.”
Indeed, Battles are one of indie rock’s best bands and one of the least obnoxious acts in techno.
Making the trip from “Selma” to South Central with the “Straight Outta Compton” actor.
There are cracks of light to be found on her second album, but it takes time and patience to find them.
The reemergence of Refused didn’t presage a new album—the group could have toured off the strength of “Shape” forever—but the willingness to evolve is what keeps any band relevant. Cheers to Refused for taking the plunge.
As every musician should, three albums deep into their career, Daughn Gibson (a.k.a Josh Martin) spends “Carnation” exploring new realms.
It’s goodbye low budget, hello high society on Best Coast’s third full-length “California Nights.”
On the Kentucky band’s seventh album “The Waterfall,” the guitars are so few and far between that the band’s metamorphosis from garage gods to production wizards is nearly complete.
The famed visual artist discusses his avant-garde progression with art by way of virtual reality.
“Edge of the Sun” is what fans were clamoring to hear while sitting patiently through Joey Burns and John Convertino’s well-received but incredibly melancholic recent releases.
Reptar is an unfortunately named band that usually has enough tricks up its sleeve to be forgiven for it. But not this time around.
Far too often, words like “trippy,” “spacey,” and “acid” pepper descriptions of Moon Duo and guitarist/singer Ripley Johnson’s better-known band, Wooden Shjips.