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.
The Weeknd, Hurry Up Tomorrow
This hypnotic, 85-minute opus which Abel Tesfaye claims will be the final statement from his long-running moniker may be his biggest bonfire to his vanities—that is, until it flames out.
MIKE, Showbiz!
The NYC-based rapper’s ninth solo album toes the line between lo-fi, soul, jazz, and ambient electronics, adding a newfound sense of resolve to the grief explored on recent release.
Bonnie “Prince” Billy, The Purple Bird
Created in tribute to his friendship with producer Dave Ferguson, the youthful energy they channel together works well for a no-frills country record that gets so much done with so little.
Melanie Robinson
Gia Coppola’s new Pamela Anderson–led feature is much more than just a meditation on aging under harsh stage lights—although it is undeniably also that.
The Challengers director’s second film of 2024 brings a much needed excess of style, humor, and sexuality to an otherwise tepid William S. Burroughs adaptation.
Revisiting the profundity and shortcomings of the bayou-soaked buddy-cop crime-drama a decade later.
The Minnesota-based indie-pop quartet walk us track by track through their impeccably titled fourth record, out now via Psychic Hotline.
The final installment of Ti West’s slasher trilogy features moments of grotesquery, spectacle, and levity—but most importantly, it’s damn fun to watch.
With his second album out now, Sven Gamsky talks collaboration, fame, and knowing when a song’s reached its final form.
Descending upon LA this Thursday and running through May 12, here’s a guide to some of the hidden gems among the event’s lineup.
With Beyoncé’s yeehaw era launching this week, we explore the genre’s long-suppressed and -overwritten history of Black performance.