May 22, 2020<May 22, 2020 This Just In: DBMK Celebrate Singularity in “Haunted House” by Maggie McHale
May 22, 2020<May 22, 2020 Today’s Song: Roos Jonker & Dean Tippet Spark Hope with “Love Like That” by Kelly McCafferty Dorogy
9.7 May 22, 2020<December 15, 2020 Our Take: The 1975’s Epic ‘Notes on a Conditional Form’ Is an Odyssey of Sound & Substance by Mitch Mosk
May 21, 2020<May 21, 2020 This Just In: Ella Isaacson Lets Go with “Expectations” featuring Gallant by Kelly McCafferty Dorogy
May 21, 2020<August 4, 2020 Premiere: London’s Luca Wilding Debuts with Raw, Impassioned “Heartachers” by Mitch Mosk
May 21, 2020<May 21, 2020 Premiere: Raw and Impassioned, Desmerelda’s “Welcome to the Establishment” Provides a Much Needed Escape by Adrian Vargas
May 21, 2020<May 21, 2020 Premiere: Melbourne’s Stonefox Are Intimate & Raw in Stripped “Time” Acoustic Video by Mitch Mosk
May 21, 2020<May 21, 2020 A Sweet Recall of Love Makes Christy O’Donnell’s “Remember Me Well” a Standout by Kelly McCafferty Dorogy
May 21, 2020<May 20, 2020 Breaking the Record with Roan Yellowthorn, Part 16: On Writing by Guest Writer
May 20, 2020<May 20, 2020 Review: Orpine Inject Duality & Depth into Debut Album ‘Grown Ungrown’ by Mitch Mosk
May 20, 2020<May 20, 2020 Feature: Emily Keener’s Stunning & Stirring Sophomore Album ‘I Do Not Have to Be Good’ by Mitch Mosk
May 20, 2020<May 20, 2020 Interview: Shoegaze Duo The Know on Their Evocative & Intimate Debut EP ‘wearetheknow’ by Chloe Robinson
May 20, 2020<May 21, 2020 Interview with The Fratellis: Multi-Platinum and Still Finding Ways to Improve by Matthew Dunn
May 20, 2020<September 10, 2020 Premiere: The Sea The Sea’s Intimate “Parachute” Is a Beautiful, Enchanting Lullaby by Mitch Mosk
For the Love of Music
For the Love of Music
