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

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.

yeule, Evangelic Girl Is a Gun
The London-via-Singapore alt-pop songwriter continues to experiment on their fifth album, with the heaviest and weirdest moments also feeling the most authentic and energizing.
Mischa Pearlman

The first proper album from the punk seven-piece thrives with a sense of wild abandon and sheer joy at being alive.

This ninth full-length offers a contemporary yet simultaneously anachronistic soundtrack to a world that’s become even more fucked in the four years since its prequel was released.

The urgency and intention and raw, ragged truth that usually defines the Cursive frontman’s work is often lost within his latest solo LP’s arrangements.

For this Bartees Strange–produced third record, the emo trio explore how Black genius often goes ignored.

This 2015 performance from Conor Oberst’s punk band pays less attention to being in tune than it does to turning the rage of the songs into tangible energy.

The duo’s first full-length in almost nine years recaptures the glory of their earlier days more than the path of slight self-parody they had occasionally veered into since.

While there are slivers of Superchunk, early R.E.M., The Lemonheads, and Hüsker Dü here, the Liverpool punks’ debut also shimmers with its own distinct personality.

We caught up with Blake Schwarzenbach ahead of the punk trio’s belated 25-year anniversary tour for their last record, which kicks off tonight.

This tenth studio album from the Gainesville punks is a positive and triumphant dance in the face of trauma.

The Stockholm-based band’s sixth full-length draws you deeply into the warm memories that serve as its foundation.

This third album of black metal incorporating African-American spirituals steps further into the future while reasserting the gruesome events of the past.

The balance between light and dark is both more pronounced and more nuanced than ever before on the British metal band’s sixth album.

The addition of live recordings, B-sides, and covers from the era provide great context for this album, adding to its dark, gritty atmosphere.

The group’s 5th LP tones down the dark, nervous energy that was previously at the core of their identity.

The duo’s 13th full-length often sounds less like a collection of songs than a manifestation of the frequency of existence.

This 11th studio album isn’t as cohesive as some of the band’s previous efforts, but it shows they’re still evolving.

Mikaiah Lei discusses the new perspective that influenced his sophomore album that was seven years in the making.

Beneath the facepalm titles on the band’s third full-length lie songs full of heart, purpose, and meaning.

Chris Simpson also talks the past, present, and future of the band in a Q&A about his accompanying vinyl reissue project.

The third full-length from Jack Antonoff feels devoid of heart and soul, fizzling and fading forgettably into the background.