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

Hotline TNT, Raspberry Moon
Will Anderson’s debut with a full band exhibits his fondness for crunchy shoegaze while incorporating a stripped-down, folk-referencing sound tinged with melancholic guitar.

Yaya Bey, Do It Afraid
In its 18 brief, blipping songs, the Brooklyn neo-soul artist’s latest venture into old-school rap, acid jazz, soca, and trip-dub is closer to a groove mixtape than a cohesive album.

HAIM, I Quit
The sister trio’s fourth full-length is a summer breakup concept record that’s intimate, powerful, and too scattered within its catharsis.
Tom Morgan

Another collection of relentlessly charming and eccentric garage rock, this fifth album doubles down on the Welsh band’s signature stylized-raw production and unusual lyrics.

The tone of the Chicago post-metal band’s first album in six years feels triumphant, like ascending the peak of the mountain that adorns its cover.

The Chicago trio’s fourth album stands tall as their most positive and sincere effort yet, glossing their emotionally resonant emo revivalism with a hard coat of power-pop paint.

The Virginia rapper’s guest-filled latest is a stellar collection of bright, diverse, and downright gorgeous hip-hop that’s so light-on-its-feet it can sometimes feel like it’s sweeping you off yours.

The UK stoner-metal outfit’s fifth studio album is another collection of pummelling, heavy thrills, the sound of grimy darkness being warped into something transcendently fun.

The noise-rock trio’s first full-length in 11 years has all the punch and zip of a debut statement, and even feels a degree or two more thrillingly lean than its predecessors.

Calling back to the “big swing” pop-punk records from the turn of the millennium, the Connecticut band’s sophomore release is emotionally intelligent and impressively fine-tuned.

Fusing together the stripped-bare ambient-pop and dancier art-pop of the trilogy’s previous titles, the Bloc Party vocalist’s latest project often feels both overstuffed and too restrained.

The UK duo hurls hand grenades in the direction of contemporary society’s myriad ills across their riotously fun yet deadly serious indie-punk debut.

This new collected discography celebrating the upbeat, joy-emanating guitar-rockers polishes up their all-too-brief run while including a few new surprises. High-fives all around.

The breathless riffs, ferocious pace, and veteran sense of security that define this debut album from the metalcore supergroup feel like the work of a band desperate to escape their history.

John Dwyer details the “tightened up and screwed down” sci-fi punk of his prolific band’s 29th full-length.