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

Ethel Cain, Willoughby Tucker, I’ll Always Love You
The prequel to Preacher’s Daughter helps sprawl Hayden Silas Anhedönia’s narrative out even further while dialing up the intensity of her droning slowcore/shoegaze textures.

Osees, Abomination Revealed at Last
John Dwyer has crafted his most overtly political album yet in terms of both its lyrical and musical attack, with his band’s recent linear and pared-down punk style put to enjoyably cutthroat use.

Marianne Faithfull, Cast Your Fate to the Wind: The Complete UK Decca Recordings
Reissued for the first time in this six-CD box set are the British singer’s original Decca albums, along with a double LP of singles, B-sides, and rarities from the era.
Leah Johnson

The Chicago duo pull the strings taut on their emo-pop debut, adding piano passages, guitar theatrics, and other flourishes to their established college-radio-rock sound.

Reuniting with original member Joe Keery, the Chicago-based psych-rock band finds a new direction in the woods of Indiana with their rustic fourth album.

Both brighter-eyed and harder-hearted, the LA quartet return with a third LP of full-bodied psych-shoegaze which settles deeply into Kenny Becker’s cataclysmic transitional life period.

The songwriter’s debut is carefree, sleazy, fundamentally arresting dance music—a multi-sensory circus serving to wallpaper the halls of dance-pop history with neon, acid-tinged nonsense.

Clashing with expectations, the rowdy Australian duo dive into an older, deeper, more refined sound with this EP that positions them as stronger musicians and storytellers.

Production from Kenny Beats heightens the LA trio’s signature gloominess on their third album of mournful 19th century gothic narratives and mirthful 1980s horror nostalgia.

Channeling Ziggy Stardust’s glam transcendence, Will Toledo resurrects the album as a grandiose narrative vehicle while marking his valiant stride into the rock canon.

The cult UK quintet find a sense of clarity in their IDM-pop sound with introspective, chromatic, moving pieces on their most intentional, polished production to date.

The infectious Boston trio’s sixth album adds some complexity to their signature jangle with darker, rougher textures, though its lyrics don’t always live up to the music’s maturity level.

Boasting lush electronic soundscapes and complex themes of modern dystopia, the Hull quartet’s third album feels more nuanced than their prior indie-rock discography.

Ahead of their reunion tour, the cult indie-pop band resurrects lost classics from the bittersweet era of nostalgia that encircled their eponymous 2009 debut.

Recorded direct-to-acetate over the summer at Jack White’s Nashville label HQ, the NYC post-punk institution’s new live LP offers listeners a spot at the barricade.

The Swedish quartet bare their teeth on their third EP as they tear through five songs about frustration and resistance, aided by grungy production from Alex Farrar.