May 18, 2023<May 18, 2023 Putting Their Foot Down: Dizzy’s Katie Munshaw Talks Dogs, Adulthood, Maturity, & the Band’s Bold Third Album by Claire Meyer
May 17, 2023<May 17, 2023 “A Rabbit Hole of Digital Grief”: OK Cool’s Visceral, Vulnerable, & Raw ‘fawn’ EP by Mitch Mosk
May 16, 2023<May 16, 2023 Interview: Making Peace with the Past & Looking to the Future with Pictoria Vark by Sophie Severs
May 15, 2023<May 16, 2023 The Creator and the Self: How Chris Lanzon’s ‘Dark Side’ Portrays the Duality of Human Nature and Artistry by Lauren Hicks
May 15, 2023<May 15, 2023 Feature: mehro Shines a Light on the Shadows in ‘Dark Corners and Alchemy,’ His Breathtaking Debut Album by Mitch Mosk
May 12, 2023<May 12, 2023 “Just love alone isn’t enough”: Matt Maltese Talks Existence, Joy, and Emotional Authenticity on ‘Driving Just To Drive’ by Isabella Le
May 11, 2023<May 11, 2023 Cathartic, Cinematic, & Honest: Wila Frank Premieres Her Soul-Stirring Debut Album ‘Black Cloud’ by Mitch Mosk
May 10, 2023<May 10, 2023 ‘Fase Luna’: An Album Made in the Jungle by LA Priest, Telling Stories of Paradise, Snorkeling, & Malevolent Spirits by Adam Davidson
May 9, 2023<May 7, 2023 Interview: Dean Lewis Returns With a Heartbreaking Hit Song and an Emotional New Album, ‘The Hardest Love’ by Lauren Turner
May 9, 2023<May 9, 2023 Interview: Annika Bennett Reclaims Her Power with ‘madwoman’ EP by Kelly McCafferty Dorogy
May 5, 2023<May 10, 2023 Track-by-Track: Of Monsters and Men’s Nanna Spills Her Soul on Debut Solo Album, ‘How to Start a Garden’ by Mitch Mosk
May 3, 2023<May 3, 2023 “Soothing Existential Dread”: Dwelling in Draag’s Cathartic Debut Album, ‘Dark Fire Heresy’ by Mitch Mosk
May 2, 2023<May 2, 2023 Feature: Photo Ops ‘Burns Bright’ on His Iridescent, Honest & Melodic Fourth Album by Mitch Mosk
May 2, 2023<May 3, 2023 “Both timely and timeless”: Babygirl Bridge Humanity & Musicianship on ‘Be Still My Heart’ by Isabella Le
For the Love of Music
For the Love of Music
