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

Lorde, Virgin
The pop star retains the tainted-love throb of electro rhythm on a fourth LP that’s high on affection, low on gloss, and geared toward transcendence and sneaky sexuality.

Frankie Cosmos, Different Talking
Greta Kline’s sixth album finds her clicking with her new band, lending these songs a DIY quality reminiscent of her early demos despite digging into themes exclusive to adulthood.

BC Camplight, A Sober Conversation
The UK-via-NJ songwriter’s blackly comic neo-chamber-pop missive on sobriety still manages to speak to the upbeat without a snip of excess emotion.
Reed Strength

In 2008, Atlanta’s preeminent indie rock band made a record to become more than just that—but only tentatively so.

The Portland trio called it quits this week, but for many, they leave behind a fiery legacy that can’t be put out.

The proggy psych septet destroyed any traditional conception of a release cycle last year, but each of their five LPs are worth talking about on their own.

With an art exhibit and a debut solo album to offer, the ever-busy lyricist and visual artist opens up on his creative process with expected verbosity and frankness.

To love The War on Drugs, to gain a deeper understanding like the title of their latest album suggests, is to constantly return to the echoing canyons of dreamy classic rock they’ve spent over a decade now forming.