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

Wisp, If Not Winter
Natalie Lu’s debut leans into the “pop” side of dream pop, exploring the double-edged sword of yearning with big builds and a combination of delicacy and pummeling sound.

The Armed, The Future Is Here and Everything Needs to Be Destroyed
The Detroit punks’ sixth album is a consistent, melodic post-hardcore assault, maintaining a relentless pummeling in defiance to the system as much as it is to their recent pop streak.

OK Cool, Chit Chat
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.
Mike LeSuer

The extremely Oscar nominated drama and its snubbed peer lead a new generation of content from the streaming service, which seems to focus on millennial passivity.

Meet the space dominatrix inspired by a trip to AutoZone.

You don’t even need to ask—we’re all ready for this.

Florida man bravely steps into ring with Rage Against the Machine staple.

On the last stop of his anniversary tour, the Doomtree rapper offers some insight into the evolution of his uniquely punk take on rap.

The Brooklyn songwriter compiles ten healing songs that helped her make the leap from guitar to synthesizer for her latest record.

The Japanese Breakfast–directed video precedes Brooklyn’s sugariest power pop quartet’s follow-up to “Guppy.”

A CGI Andy Serkis was the only thing missing from Super Bowl LIII’s accidental homage to sixteen years ago.

Before the release of “VOL. 4 :: SLAVES OF FEAR,” Jake Duzsik talks us through the many phases of his experimental noise rock band—and the single aesthetic that unifies them.

The St. Louis–spawned fourpiece tease their Exploding in Sound debut.

Somehow lost in the shuffle of Conor Oberst and Phoebe Bridgers’ new release is the duo’s enigmatic chat with a made-up-sounding interviewer, which served as the record’s press release.

Hey, did you hear Harlem’s back? The Tucson–bred garage-rockers who gave us such jangly classics as “Gay Human Bones” and…

With the classic adventure series now freely available to everyone with their parents’ login, let’s take a moment and think about how incredibly bizarre these movies really are.

The Austin psych rock group’s Dan Auerbach–overproduced third record signifies an end to regional music scenes and adherence to aesthetic.

Any man can play guitar—but here are five men who are actually pretty good.

With the release of the two groups’ first collaborative recording, the recent tour mates take their already-public friendship to the next level.

The illustrator and comic book artist walks us through his vision of a world that’s both musical and anti-Seussical.

A long overdue re-examination of the overt sociopolitical themes and genre revisionism of Chris Columbus’s classic vigilante thriller.

Ten of the most undeniably positive—and surprisingly palatable—moments music, film, and the world of memes had to offer.

An investigation into the only category of music entirely defined by its constricting censorship.