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
Saintseneca, Highwallow & Supermoon Songs
The cosmic Ohio band’s sprawling fifth album represents the best of the late-’00s indie-folk scene, with Zac Little proving that he very much earns his suspenders.
Florence + the Machine, Everybody Scream
After recent big swings across the pop plate, Florence Welch’s gothic sixth album gets cerebral and probing as the songwriter proves herself to be more in touch with her emotions.
Chat Pile & Hayden Pedigo, In the Earth Again
Destruction and decay may be the themes explored by the unlikely collaboration of a noise-rock band and a folk guitarist, but instrumentally, they make it sound beautiful, lush, and gentle.
Mischa Pearlman
The Montreal quartet are back with a truly triumphant return.
The Spanish artist known for his deranged—but brightly colored!—comics talks police brutality, Facebook, and traveling in the US.
photo by Joe Dilworth
Class warfare, civil rights, Donald Trump: That’s not the whole story.
An exhilarating journey into one of contemporary music’s most inventive and eccentric bands.
While “Trouble Maker” is far from a political record, its songs certainly exist within the fragile framework of America in 2017.
Comprising eleven downtrodden, sunken-hearted, minor-chord songs, Big Thief’s sophomore album traverses the dark side of humanity, but pairs the despair with a ragged beauty.
A more than welcome addition to—and expansion of—the Hold Steady frontman’s catalog.
Everything Sleaford Mods say in these twelve songs is thoroughly valid and, frankly, needs to be said.
It’s not the second coming of “The Sophtware Slump.” But it also isn’t trying to be.
Singing the praises of the undersung singer-songwriter.
On his solo debut, the Ought frontman embarks on his own personal exploration of sounds and genres, ideas and influences.
The LA native’s debut is an escape route from Trump’s America into an alternative and rose-tinted reality.
The four members of The Menzingers have all hit their thirties. “After the Party” confronts that reality and all the realizations that come along with it.
The Arrival composer gives voice to an unlikely subject: himself.
Beyond the big hits, R.E.M.’s seventh album is a record full of nuances, a record that matched the quantity of units sold with the quality of its songwriting.
Natalie Mering’s newest release straddles the world we inhabit and the marvels we imagine beyond it.
Darkness and light battle it out in M.C. Taylor’s latest.
beach_slang-2016-a-loud-bash-of-teenage-feelings
On the whole, Beach Slang’s sheer joy at just being alive should bring a smile to the most cynical minds and the most jaded of hearts.
The minimalistic, ice-cold production of Splendor & Misery feels like it’s been pulled back into the present from the future.
The British duo venture across the Atlantic to work with Matthew E. White at his Spacebomb Studios.
