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

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.

Alan Sparhawk, With Trampled by Turtles
Far more mournful than his solo debut from last year, the former Low member’s collaboration with the titular bluegrass band is drenched in sorrow, absence, longing, and dark devastation.

Cola Boyy, Quit to Play Chess
Despite bristling with Matthew Urango’s familiar cotton-candied disco, the late songwriter and activist’s sophomore album also opens the floodgates to everything else he seemed capable of.
Michael Brooks

The band’s first album for Saddle Creek is a sprawling odyssey of haunting dissonance and blissful euphoria.

The “frog rock” quartet’s debut is an unforgettable collection that blurs the lines between math rock, art pop, and jazz.

The pair of emcees sound more in sync than they did on the debut LP, released just six months ago.

“Oxnard” isn’t afraid to show admiration for G-funk, and many of its best moments come from the more West Coast–inspired cuts.

“Alone at Last” elicits the kind of place that only exists in dreams, a sort of chrysalis from all the chaos surrounding us.

Lenker’s haunting vocal acrobatics will linger with you long after the album is done.

The end of the world is merely a natural evolution, and “Thunder Follows the Light” is about basking in the calm before the chaos.

Mac Miller has been open about his struggles in the past, and “Swimming” is rooted in trying to find a way to stay afloat.

A collection of unfussy, straightforward, mid-tempo rockers that revel in their uniformity.