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

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.

Shame, Cutthroat
The UK rockers don’t mince words on their fourth studio album, pairing their infectious proto-punk grooves with nakedly hedonistic lyrics.
Taylor Ruckle

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.