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.
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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
12
The Los Angeles Issue
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Reviews
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Preoccupations, Ill at Ease
The Calgary post-punks couldn’t sound more comfortable in their own skin on their ironically titled fifth album, which seamlessly alternates between joyful and haunting moods.
Provoker, Mausoleum
Production from Kenny Beats heightens the LA trio’s signature gloominess on their third album of mournful 19th century gothic narratives and mirthful 1980s horror nostalgia.
Various artists, True Names: A Benefit for Trans Youth
Worry Bead Records compiles tracks from Squirrel Flower, Remember Sports, 22° Halo, and more conjuring a wistful world of lo-fi elegance while raising funds for a very worthwhile cause.
Pete Tosiello
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BJ the Chicago Kid, Voice of the American Soul
The multifaceted vocalist walks us through his storied career leading up to his new record, “1123.”
August 20, 2019
Globetrotter Henry Canyons Finds a Home in LA’s Hip-Hop Scene
Coasting on the acclaim of April’s Cool Side of the Pillow LP, the LA-based emcee is finding his way from the backwoods to underground hip-hop’s forefront.
December 20, 2018
Nas’s “Nasir” Is the Album 2018 Deserves
It’s a fascinating and depressing listen for our current moment, a collaboration between two once-beloved icons reduced by their own grievous public misdeeds.
June 21, 2018
Film + TV
Watts, Friendship, and Humanity: Twenty-Five Years of “Menace II Society”
While often mislabeled as a “Boyz n the Hood” knockoff, the 1993 film’s precision in rendering the American male adolescent experience remains unmatched.
May 25, 2018
