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

Nation of Language, Dance Called Memory
The electronic trio’s Sub Pop debut is both introspective and danceable, combining the languid, mellow tendencies of its predecessor with the more pop-infused style of their earlier work.

Devendra Banhart, Cripple Crow [20th Anniversary Deluxe Edition]
Further extending the LP’s dimensions, this reissue adds a third disc of outtakes, B-sides, and demos that only serve to fortify the project’s sonic asymmetry and emotional, quixotic lyricism.

Die Spitz, Something to Consume
With their Will Yip–produced debut, the Austin punk quartet has something to say about postmodern society in 11 metal-fusion tracks ripe with political turmoil and skatepark angst.
Samantha Sullivan

The Kansas City trio ushers in a new kind of tenderness with an EP running the gamut from slowcore to screamo, one that’s vulnerable and violent and completely captivating.

On their debut album, the LA trio prove they’ve done their homework when it comes to pulling ’90s shoegaze influences as they create blissed-out sounds to complement lyrics about growing up during COVID lockdown.

Blair Howerton shares how artists ranging from Silversun Pickups to Brooks & Dunn inspired the Texas-reared project’s second album, out now via Fire Talk.

Acknowledging their past without relying on it, the twee-pop duo expands on the folk-infused cuddle-core that first captured listeners’ hearts 30 years ago on their first album since 2000.

The Philadelphia-based group’s latest album Life on the Lawn arrives March 29 via Crafted Sounds.

A sharp departure from the offbeat folk and whimsical acoustics that defined last year’s debut full-length, the duo’s new EP experiments with electronic sounds and early-internet aesthetics.

With their proper debut, Kevin Krauter and Nina Pitchkites keep it short and sweet as they soundtrack themes of contemporary loneliness with the influences of MBV and The Sundays.

With the cult Boston shoegazers returning with their first album in 30 years this week, we asked nine current artists to detail what Delaware has meant to them over the years.

The dream-pop trio celebrates the precarity and preciousness of life with delicate and airy sounds on their first record in nine years.

On her debut, Addie Warncke synthesizes the data and digits of the deep web to make swirling shoegaze flush with emo influences.

On his self-titled third album, Max Clarke blatantly rejects modernity in favor of tradition as he opts for ’60s-era starry-eyed ballads and swooning soft rock.

The art-rock duo turn burnout into playful yet sharp post-punk riffs on their sophomore record.

On their debut album, the Manchester-formed industrial noise outfit manages to come across as angelic and avant-garde all at once with such suaveness it makes your head spin.

The Brooklyn-based art-punk sextet reinvent themselves while crafting their own creation myth on their sophomore album.