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

Blood Orange, Essex Honey
Dev Hynes’ guest-filled yet distinctly lonely first album in seven years takes his usual complex arrangements, epic electronica, and intricate melody-making and pushes them into the red.

The Hives, The Hives Forever Forever The Hives
The Swedish garage-rockers’ seventh album feels lean and mean from the jump, with their lovable braggadocio bursting at the seams on what feels like another fiery debut.

Margo Price, Hard Headed Woman
For every tender moment on the country artist’s fifth album there’s one of wind-blow abandon, a yin and yang that complements her split allegiance to the genre’s rich history and the present day.
Steve Horton

A satisfying sequel to the 2021 tongue-in-cheek ex-assassin suburban dad story finds Bob Odenkirk’s Hutch desperately wanting a break.

Ethan Coen and Tricia Cooke’s second installment in their “lesbian B-movie trilogy” has a terrific ensemble and miles of style, but comes with serious third-act problems.

Remastered in 4K, Rob Reiner’s satire of aging-rock-band tour docs returns to theaters this month ahead of its sequel planned for September.

Alex Ross Perry’s three-hour documentary is a love letter to the video store in cinema—albeit one perhaps best suited to equally bygone attention spans.

Director/writer/star Eva Victor’s darker-than-black comedy debut addresses heavy subject matter through unexpected tones and structures.

Wes Anderson’s latest is a very funny quest film where the quest doesn’t matter.

With their second film, brothers Michael and Danny Philippou bring us a tale of dark resurrection and the chaos that ensues.