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

Sufjan Stevens, Carrie & Lowell [10th Anniversary Edition]
Padded out with a personal essay, family photos, and outtakes, this re-release of Stevens’ album-length eulogy permits yet another return to the 1980s Oregon of the artist’s memory.

Alan Sparhawk, With Trampled by Turtles
Far more mournful than his solo debut from last year, the former Low member’s collaboration with the titular bluegrass band is drenched in sorrow, absence, longing, and dark devastation.

Cola Boyy, Quit to Play Chess
Despite bristling with Matthew Urango’s familiar cotton-candied disco, the late songwriter and activist’s sophomore album also opens the floodgates to everything else he seemed capable of.
Will Schube

The first-time filmmaker on becoming a documentarian-of-all-trades—and trying not to miss anything.

Dr. Octagon / photo by Carlo Cavaluzzi
Tired of waiting for everyone else to join them, Kool Keith, Dan the Automator, and DJ QBert have touched back down on Earth.

With A24’s latest triumph now in theaters, Stetson walks us through his collaboration with director Ari Aster and the film scores that have shaped his work.

La Luz are turning their garage rock early days into something shimmering and alluring, yet laced with venom and sharp edges.

On her debut solo LP, H.C. McEntire remains an effusive, unrelenting force amidst a shifted landscape.

The Montreal pop duo experiments with optimistic themes on their latest musical cocktail.

photo by Nick Ebeling
The Savages guitarist walks us through the making and spirit of her score for Nick Ebeling’s new Dennis Hopper documentary.

“Ga Ga Ga Ga Ga” is the logical conclusion of Spoon’s commercial appeal and their innovativeness, an effort seamlessly weaving between earworm melodies and genuine experimentation.

Sometimes the best things are the ones that remain the same.

Detroit’s most amiable punks explores their sound and considerably extend its boundaries.

From a quiet, smooth opening, Kamasi Washington’s new EP grows to enormous heights.

Frost’s music can be grating, obstructive, evil, sinister, and ugly. Yet there’s something both charming and beautiful in how he embraces these characteristics.

Maker and Campos find a way to bring their collaborators toward their sound, not the other way around, and the results are outstanding.

Most of all, Bronson simply seems fully in control of the world he’s created on “Blue Chips 7000.”

On their first record in five years, the venerable group starts small.

This is how most of “Popular Manipulations” works: starts modest, grows bolder, ends up on a mountaintop.

photo by Masayoshi Sukita
It took eleven years, but the Japanese songwriter has returned.

Tyler’s always been an immensely talented producer and rapper, but he’s never put together an album as cohesively as he does here.

Shabazz Palaces
We speak with the Seattle legend to figure out how, exactly, he always stays one step ahead of the game.

A death-defying trip to Glacier National Park inspired the Austin band’s new record.