August 2, 2019<August 2, 2019 Album Review: Ritt Momney’s Triumphant Debut ‘Her and All of My Friends’ by Harper Beattie
August 1, 2019<August 1, 2019 MisterWives’ Unapologetic “whywhywhy” Is a Dynamic Post-Breakup Reckoning by Mitch Mosk
July 31, 2019<December 15, 2020 Review: Ian Ferguson’s ‘State of Gold’ Is Your New Summer Road Tunes Record by Oliver Crook
July 31, 2019<July 31, 2019 Album Premiere: Female Energy Fuels So Sensitive’s Alluring Debut ‘Bedroom Drama’ by Mitch Mosk
July 30, 2019<July 30, 2019 Live Review: Mdou Moctar Takes Crowd on Magical Journey at Halifax Jazz Fest by Oliver Crook
July 29, 2019<July 29, 2019 Requiem for a Poor Mathô: A Review of MARINA’s ‘Love + Fear’ by Ben Niesen
July 29, 2019<July 29, 2019 The Ultimate Matriarchal Experience: British Summertime Festival 2019 by Hermione Kellow
July 26, 2019<July 26, 2019 A Beautiful Marriage of Vintage and Modern: A Conversation with Weird Milk by Adrian Vargas
July 25, 2019<July 26, 2019 Interview: Lauran Hibberd Lets Loose on “Frankie’s Girlfriend” with Raw Indie Rock Zeal by Mitch Mosk
July 25, 2019<October 7, 2020 EP Premiere: The Honey & Salt of Terrible Sons’ ‘With Feathers’ Explores the Weight of the Soul by Oliver Crook
July 22, 2019<July 22, 2019 Review: The Portland Ambience of Rose City Band’s Self-Titled Debut by Ben Niesen
July 17, 2019<July 17, 2019 Album Premiere: In ‘Rarest of Birds’, Grizfolk Fight Personal Struggles with Visions of the Sun by Frankie Rose
July 17, 2019<September 9, 2019 Review: London’s Zola Courtney Debuts with Breathtaking, Heartbroken “Untitled” by Mitch Mosk
For the Love of Music
For the Love of Music
