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

Marissa Nadler, New Radiations
The gothic songwriter’s latest collection of bad-dream vignettes feels like a return to the mold she was cast in as she wrestles with the current state of her country through obscured lyrics.

The Black Keys, No Rain, No Flowers
The blues-rock duo sifts through wreckage in search of meaning and growth on their 13th album only to come up with answers that are every bit as pat and saccharine as the title suggests.

JID, God Does Like Ugly
After 15 years of writing and developing verses, the Dreamville rapper has become a master of the form on his fourth album as he finds resolution and comes to recognize his purpose.
Taylor Ruckle

The London-based indie rockers’ latest EP is an anti-formalist return to form.

The latest single from “Galactic Africa” pushes back on neo-colonialism in energetic Afrobeat fashion.

Kennedy Freeman shares the first of two full-band singles already planned for 2022.

The track arrives ahead of the “Jagged Little Pill” cast member’s debut album, “My Bed.”

The Québec-based songwriter celebrates the richness of her culture and the healing she’s achieved through transmitting it on her latest release.

The paradoxically upbeat single arrives ahead of their forthcoming self-titled EP.

The Palberta member’s solo debut channels the anguish and exhilarating possibility of a post-breakup period.

Taylor Vick’s comfort zone is the lilting, mid-tempo stuff her new album is founded on, opening up an expansive space around her nylon-string compositions.

Chamber-pop ornamentation and live-band grit weave around spiritual lyricism on the Cincinnati band’s third album.