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

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

Perfume Genius, Glory
Backed by the incredible team he’s assembled over the years, Mike Hadreas’ seventh release is a folk album that remains as slippery, electrifying, and brilliantly unknowable as its lead single.

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.
Kyle Lemmon

The latest, truly masterful statement from Tamara Lindeman blooms beyond her Americana roots.

Much of the Pumpkins’ overstuffed 11th album is merely a faded approximation of ’90s rock.

The constant theme on Calexico’s new holiday album is friends and family celebrating the good times.

The group’s sixth album is a long exhale after the excited breathing and bare-chested songcraft heard on their last three records.

“The Ascension” is an unrelenting release that asks a lot of its listeners, but it gives back plenty as well.

The band’s sixth album sounds like a bigger, hi-fidelity bite of the “Sam’s Town” apple.

Sophie Allison follows up “color theory” with a compilation featuring Jay Som, SASAMI, and more.

The piano is the torch guiding Jones through the darkness on her eighth solo album.

Sumney brings shards of art rock, R&B, classical, electronic, jazz, and soul into one beautiful piece of musical kintsugi.

Thundercat continues to alchemize his inimitable style as a honeyed singer, whipsmart producer, and lithe bassist.

A track-by-track ranking of the album that made me realize it was OK to be anxious.

Mackenzie Scott has always been a sharp and economical lyricist with a variety of personas at her disposal.

The cousins discuss inverting genre tropes, their first embarrassing movie, and the evergreen influence of “Columbo.”

William Tyler // Modern Country
The Nashville guitarist continues his streak as an accomplished folk storyteller with or without words.

The Numero Group focuses its lens on the pivotal country music made between 1969 and 1980, when many smaller musicians were directly inspired by Gram Parsons and The Flying Burrito Brothers.

2016. La Sera, “Music for Listening to Music to”
This isn’t Music Appreciation 101.

2015. Wild Nothing, “Life of Pause” album art
Jack Tatum leans further into the synth-pop landscape than ever before on his third album as Wild Nothing, “Life of Pause.”

2016. Field Music Commontime cover hi-res
On “Commontime,” the brothers Brewis double down on this concept by settling into a few more, well, common time signatures alongside their usual pop-funk trappings.

2016. Shearwater Jet Plane and Oxbow cover hi-res
“Jet Plane and Oxbow”’s fist-raising peaks are sadly rare, but the craft of the production is still worthy of admiration.

2016. PCPC, “Ramsgate”
In the fall of 2014, Parquet Courts announced a tour with fellow New York band PC Worship under the nondescript stage name PCPC.