March 24, 2026<March 24, 2026 “It’s Not Going to Be Okay”: Joshua Burnside Faces Grief Head-On in His Raw, Unflinching, and Life-Affirming Sixth Album by Mitch Mosk
March 24, 2026<March 24, 2026 “Finding Strength Through Generational Womanhood”: An Essay by BRUX for Women’s History Month by Guest Writer
March 24, 2026<March 24, 2026 Ten Years Later, Kamaiyah Is Still Exactly Who She Said She Was by Ankita Bhanot
March 24, 2026<March 24, 2026 “I Like the Voices on the Radio”: Brown Horse Capture Isolation, Motion, & the Slow Burn of Reflection on “Twisters” by Mitch Mosk
March 23, 2026<March 23, 2026 “Being a Trans Woman in the Music Industry”: An Essay by Valentina Moretti for Women’s History Month by Guest Writer
March 23, 2026<March 23, 2026 “There’s a point where it’s not up to you anymore”: Troy Cartwright Lets the Songs Take the Wheel on ‘Etc. All The Rest’ by Aileen Goos
March 23, 2026<March 23, 2026 “Can’t tell if I’m teaching or learning a lesson”: The Front Bottoms’ Brian Sella Looks Inward with Maturity on Debut Solo Album ‘Well I Mean’ by James Crowley
March 23, 2026<March 23, 2026 “All That You Are Is a Lot”: Ray Bull Find Sweetness in the Spiral on a Catchy, Cathartic Anthem of Indecision by Mitch Mosk
March 20, 2026<March 20, 2026 ‘Talking 2 Strangers’: Coyote Theory Capture the Moment on a Bold EP Fueled by Instinct, Energy, & Raw Emotional Urgency by Mitch Mosk
March 20, 2026<March 20, 2026 “Beyond the Numbers: Visibility, Gatekeepers, & the Future of Women in Music”: An Essay by Elles Bailey for Women’s History Month by Guest Writer
March 20, 2026<March 20, 2026 “I Want Something Unfamiliar, Unpredictable”: midori jaeger Navigates Uprooting, Identity, & the Pull of the Unknown on “exasperate” and ‘(Un)planted’ by Mitch Mosk
March 20, 2026<March 19, 2026 “I’m in the Middle of the Past and the Future”: Chet Faker Comes Full Circle on ‘A Love for Strangers,’ Returning to Instinct, Curiosity, & the Feeling That Started It All by Mitch Mosk
For the Love of Music
For the Love of Music
