7.5 March 17, 2020<December 15, 2020 Our Take: Royce da 5’9″ Remains a Hip-Hop Megatalent on Eighth Album ‘The Allegory’ by Josh Weiner
8.1 March 17, 2020<December 15, 2020 Sam Lee’s “Old Wow” Is Rooted in the Past, Yet Its Ecological Message Is Relevant and Tender by Tim Horwood
9 March 11, 2020<December 15, 2020 Rooted in Cinema & Satire, Caroline Rose’s ‘Superstar’ is a Brilliant Ode to Unbridled Ambition by Tim Horwood
7.2 March 3, 2020<December 15, 2020 Our Take: With ‘Father of All Motherfuckers’, the Middle-Aged Men of Green Day Prove They Are Still Young at Heart by Josh Weiner
8.6 March 2, 2020<December 15, 2020 Our Take: Soccer Mommy’s ‘Color Theory’ Explores Darkness in Three Colors by Lowndes Commander
8.1 February 28, 2020<December 15, 2020 Our Take: otta’s ‘after it all blew over’ Is a Smart & Captivating Debut EP by Tim Horwood
7.9 February 27, 2020<December 15, 2020 Our Take: Tame Impala Meditates House Music and Mindfulness on ‘The Slow Rush’ by Ben Niesen
8.9 January 27, 2020<December 15, 2020 Open Yet Effervescent: The Big Moon’s ‘Walking Like We Do’ Is a Punk-Pop Panacea by Tim Horwood
9 January 24, 2020<December 15, 2020 Our Take: Andy Shauf Redefines the Songwriter on ‘The Neon Skyline’ by Adrian Vargas
7.8 January 23, 2020<December 15, 2020 Our Take: Eminem’s 11th Album ‘Music to be Murdered By’ Proves a High-Quality Surprise by Josh Weiner
7.4 January 20, 2020<December 15, 2020 No Sophomore Slump Here: Our Take on Camila Cabello’s ‘Romance’ by Josh Weiner
9 January 17, 2020<May 13, 2024 Sudan Archives’ ‘Athena’: Lessons for Mere Mortals from a Thoroughly Modern Violinist by Tim Horwood
9 January 16, 2020<December 15, 2020 A Catharsis for the Weary Soul: A Track-by-Track Review of Keaton Henson’s ‘Six Lethargies’ by Adrian Vargas
8.7 January 14, 2020<December 15, 2020 Our Take: Kaytranada Delivers the Last Great Dance Record of the 2010s by Josh Weiner
8.7 January 7, 2020<December 15, 2020 Our Take: Akai Solo and Pink Siifu’s ‘Black Sand’ Is an Experimental Treasure by Ryan Feyre