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

Shura, I Got Too Sad for My Friends
Electro-pop and dreamy grooves are largely replaced with rich ’60s-style folk-pop on the artist’s isolation-inspired third album, wherein self-doubt feels like a secondary character.

Pulp, More
The Sheffield art rock ensemble’s first album in nearly 24 years still maintains their Kinks-y kitchen sink dramatics in opposition to Oasis’ Beatles-like demeanor and Blur’s operatic Who-ness.

Sufjan Stevens, Carrie & Lowell [10th Anniversary Edition]
Padded out with a personal essay, family photos, and outtakes, this re-release of Stevens’ album-length eulogy permits yet another return to the 1980s Oregon of the artist’s memory.
Margaret Farrell

The remix follows the trio’s quarantine-recorded “Remote” EP.

The track is featured in the Shaka King–directed film “Judas and the Black Messiah.”

“FLOWERS for VASES / descansos” is out at midnight.

“Pain Is Beauty,” indeed.

The supergroup, including Phoebe Bridgers and Lucy Dacus, jumped on the track off Baker’s forthcoming album “Little Oblivions.”

Younge releases the title track of his forthcoming album and announces a multimedia project.

Alicia Bognanno covers “Dry” from Harvey’s 1993 album “Rid Of Me.”

How everyone from Phoebe Bridgers and Soccer Mommy to Lady Gaga and Taylor Swift found escape from this hell year in fantasy.

Jordana Nye continues to experiment with crunching rock, hip-hop, and jazz into enticing three-minute morsels.

The classic rock–indebted LP is a delicious blend of sugary pop and cathartic rock.

From her sharp delivery and bite-me bravado, Meg flexes at 150 percent on her debut album.

Felix Walworth’s third LP documents some of the most massive and complex sounds they’ve ever dreamed up.

Ben Shemie and Liam O’Neill talk covering Zappa, becoming a conceptual band, and the restrictions of the LP format.

The tracks on the Big Thief vocalist’s double album are warm and spacious with high ceilings.

Morby’s sixth album is both cosmic and terrestrial, with tracks seeped in death and change.

The two songwriters talk collaboration, inspiration, and fighting the good fight.

This debut LP illustrates enthralling production, thoughtful suspicion, and poetic compassion.

“Hannah” is a capsule of acceptance, frustration, and growth.

The Lawrence brothers fail to maintain any exciting spark that existed on their 2014 debut.

McEntire’s sophomore record is an album to escape into without being a delusional utopia.