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

FKA twigs, Eusexua
The visionary artist’s third album embraces rave culture for all of its angels and demons, though the ego-defying journey may be riddled with moments of internal conflict that rupture its matrix.

The Pains of Being Pure at Heart, Perfect Right Now: A Slumberland Collection 2008-2010
Ahead of their reunion tour, the cult indie-pop band resurrects lost classics from the bittersweet era of nostalgia that encircled their eponymous 2009 debut.

Paul Robeson, Voice of Freedom: His Complete Columbia, RCA, HMV and Victor Recordings
This 14-CD collection remastering the legendary bass-baritone vocalist, stentorian actor, and civil rights advocate’s work is a crucial cultural tome of both spiritual and earthly sensuality.
Nate Rogers

The most slept-on Beatles solo album was also one of the first—and likely the most off-the-cuff, too.

What many consider the scariest movie ever made started as a casual idea tossed out to a young filmmaker who understood the terror inherent within our own homes. That filmmaker also knew how to play the synthesizer.

*flips hair out of eyes while rock-climbing*

Movie: good. Van Morrison singing Pink Floyd while Leo takes his shirt off: bad.

Courtney Barnett has been building quite the home for herself in our cultural pantheon. But she needs a place for her cat to stay, too.

Now that every new release is considered to be a potential protest album of some kind, “Con Todo El Mundo” has arrived wonderfully devoid of any superfluous meaning.

The London duo should’ve become an institution. But with their final album supposedly scrapped, they’re at risk of becoming a footnote.

Oh, so you’re such a big fan now? Name three of their lawsuits.

Rather than avoiding the ordinary details of our landscape, the LA photographer is focusing on them—and abstracting them into something new.

Oscars, Schmoscars. We’ve got the real winners of the family right here.

Ready, steady, go.

Headliners were a story, as always, but they weren’t the story out of the fest’s inaugural three-day run at Expo Park.

Crank up the Beach Boys, baby: it’s time to figure this thing out.

In an age of army-sized writing teams crushing any sense of person on most major label releases, Lorde exists as a disarmingly legitimate personality.

Not all fan theories are garbage.

If the critique of Woods is that they don’t shake things up enough, here is a definitive example to the contrary.

For a songwriter known for his inability to write a bad song, it’s easy to forget that Britt Daniel was once pushed to the brink. And whether he wants to or not, on “Hot Thoughts,” his group is bridging back to the beginning.

“Hang” feels like a dramatic work in eight parts—a vaudeville act about Hollywood and the bastardized Manifest Destiny that it’s created.

Strange as it may sound, two of music’s heaviest rock acts also function as two of its most sincere folk revivalists. But is it really a revival act at all?

Yeah, yeah, we get it. Beyoncé had a good year. But can we get on to the more important stuff now?