June 27, 2022 June 27, 2022 Embracing “Something Beautiful”: East London’s Chinwe Premieres Her Sweet, Summery Seduction by Mitch Mosk
June 27, 2022 July 2, 2022 Portrait of a ‘Lady for Sale’: Lola Kirke on Her ’80s Inspired Second Album by Guest Writer
June 27, 2022 June 27, 2022 Pride Month Essay: FVNERAL’s Tim Blunt on Putting Up a White Flag in the War Against Yourself by Guest Writer
June 27, 2022 June 27, 2022 Today’s Song: Joji’s Transparent Contemplation of Vacant and Ill-Fated Love in “Glimpse of Us” by Isabella Le
June 24, 2022 June 24, 2022 “All Killer, No Filler”: MUNA Discuss Joy & Desire on Their Self-Titled Third Album by Nasim Elyasi
10 June 24, 2022 July 2, 2022 “Welcome to your existence”: Johnny Hunter Triumph with Debut ‘WANT’, a Cinematic Post-Punk Masterpiece by Mitch Mosk
June 24, 2022 June 28, 2022 “My world, My love, Paris”: Vienna’s OSKA Shines on Her Beautifully Warm & Wondrous Debut Album by Mitch Mosk
June 24, 2022 June 24, 2022 ‘Here Comes Everybody’: Inside Spacey Jane’s Spirited, Resilient, & Triumphant Sophomore Album by Mitch Mosk
June 24, 2022 June 23, 2022 “Family Gifts”: A Pride Month Essay by Quinn Christopherson by Guest Writer
June 24, 2022 June 24, 2022 Today’s Song: Sharon Van Etten and Angel Olsen’s “Like I Used To” Is a Beacon of Hope by Sophie Prettyman-Beauchamp
June 24, 2022 June 24, 2022 Review: Soccer Mommy Quivers Unapologetically in Third Album ‘Sometimes, Forever’ by Rachel Leong
June 23, 2022 June 23, 2022 Preview: The Peach Music Festival Returns to Scranton for Its 10th Anniversary by Christopher Snyder
June 23, 2022 July 2, 2022 “Melancholic, Eerie, & Soothing”: Inside wilter’s Debut ‘all this leaving’, a Record of Haunting Depression & Mellow Wonder by Mitch Mosk
June 23, 2022 June 23, 2022 “Scattered, Smothered, & Covered”: ‘Slow Up’ with Meyru’s Relentless and Charming Sophomore Album by Mitch Mosk
For the Love of Music
For the Love of Music
