April 15, 2022<April 18, 2022 “Happy, Sad, & Nostalgic”: GRAE Dives Inside the ‘Whiplash’ of Her Dazzling, Undeniable Debut by Mitch Mosk
April 15, 2022<April 26, 2024 Editor’s Picks 59: BEL & girlhouse, Mt. Joy, Ken Yates, McCall, Typhoon, & Nora Mae by Mitch Mosk
April 15, 2022<April 15, 2022 Today’s Song: “Sweet Susie” Showcases the Best of the Best from Altameda’s New Album ‘Born Losers’ by Beau Hayhoe
April 6, 2022<April 6, 2022 Today’s Song: Gary O’Neill’s Beautifully Bittersweet “Petals” Aches with Love & Longing by Mitch Mosk
April 5, 2022<April 5, 2022 Today’s Song: Glasgow’s Velvet Shake, Rattle, Rock N’ Roll on Electrifying 3rd Single “I Prefer You (In My Head)” by Mitch Mosk
April 4, 2022<April 4, 2022 “Heartfelt, Vulnerable, & Optimistic”: Jessie Reid Stirs & Stuns on Intimate Mini-Album ‘Other Hand’ by Mitch Mosk
April 4, 2022<April 4, 2022 Today’s Song: The Haunted Youth Get Intimate & Intricate on New Single “Shadows” by Beau Hayhoe
April 2, 2022<April 1, 2022 “I just wanna be a hot nerd, is that too much to ask?”: TATYANA on Her Relationship with Technology & Femininity by Guest Writer
April 1, 2022<April 1, 2022 Today’s Song: Lydia Clowes’ Dazzling Debut Single “Lose You” Dwells in the Vulnerability of True Intimacy by Mitch Mosk
March 31, 2022<March 31, 2022 Walter Martin’s Heartfelt “The Bear” Is an Autobiographical Song of Myth, Mystery, and Hope by Mitch Mosk
March 31, 2022<March 31, 2022 Essay: Agender’s Romy on Creating Sustainable Change within the Feminist Movement Through Solidarity & Empathy for All Women by Guest Writer
March 30, 2022<March 30, 2022 “Respect is a Well From Which Everyone Can Drink”: The Accidentals’ Sav Buist on Sexism in the Music Industry by Guest Writer
March 30, 2022<March 30, 2022 Essay: Christina Wheeler on Intersectionality in the Music Industry & Beyond by Guest Writer
March 30, 2022<March 30, 2022 “Adventures of a Super Weirdo”: LACES’ Jessica Vaughn on Being a Woman in Music by Guest Writer
For the Love of Music
For the Love of Music
