January 21, 2022<January 21, 2022 Today’s Song: Collapsing Scenery Blur the Lines Between Psychedelic Art & Music with “You Already Know” by Beau Hayhoe
January 20, 2022<January 20, 2022 Editor’s Picks 53: Metronomy, Daisy the Great, Hembree, Yumi Zouma, Michelles, & Empath by Mitch Mosk
January 20, 2022<January 20, 2022 Today’s Song: Stephanie Poetri’s “Picture Myself” Dwells in the Longing of Long Distance by Mitch Mosk
January 20, 2022<January 20, 2022 Premiere: Frances Luke Accord’s “Afterlife” Is a Soothing Ode to Everlasting Connection by Mitch Mosk
January 20, 2022<February 1, 2022 A Casual Ramble: Albums of The Year 2021 Racket Edition by Ben Niesen
January 19, 2022<January 19, 2022 Premiere: Austin’s Under the Rug Reckon with Grief in Soothing “Go to Sleep” Off 2nd Album ‘Dear Adeline’ by Mitch Mosk
8.2 January 19, 2022<March 2, 2025 Our Take: Nas Has Plenty of ‘Magic’ Left to Spin on 15th LP by Josh Weiner
January 19, 2022<August 15, 2022 “Funk, Feeling, Future”: Joel Culpepper on His Soulful & Triumphant Debut ‘Sgt Culpepper’ by Mitch Mosk
January 19, 2022<January 19, 2022 Today’s Song: Seeking Closure on Katie Tupper’s Graceful & Gutting New Single “Danny” by Mitch Mosk
January 18, 2022<January 18, 2022 Premiere: Evelyn Frances Awakens in Hushed & Raw New Single “Tired” by Mitch Mosk
January 18, 2022<January 18, 2022 Interview: Nation of Language’s Ian Devaney on Pandemic Recording, Touring, and ‘A Way Forward’ by Beau Hayhoe
January 18, 2022<January 18, 2022 Premiere: The Flops Channel ’90s Grunge & Alternative in Smoldering “Girl I Need to Know” by Mitch Mosk
January 15, 2022<January 14, 2022 Today’s Song: Daisy the Great’s Dreamy “Glitter” Sees the Beauty in Our Mess by Mitch Mosk
January 14, 2022<January 14, 2022 “Chops Don’t Sell Records”: A Conversation with the Delvon Lamarr Organ Trio by Ben Niesen
For the Love of Music
For the Love of Music
