8.2 July 9, 2019<December 15, 2020 Our Take: “Let’s Rock” Is a Comeback to Admire for Long-Dormant The Black Keys by Josh Weiner
8.6 July 3, 2019<December 15, 2020 Our Take: Mannequin Pussy’s ‘Patience’ Is the Shape of Punk to Come by Danny Vagnoni
July 2, 2019<December 15, 2020 Review: WKND FRNDS is The F16s’ Heady Soundtrack for the Summer by Urooj Ali Rizvi
June 27, 2019<December 15, 2020 Review: Two Door Cinema Club Reach New Heights on ‘False Alarm’ by Meredith Nardino
June 27, 2019<December 15, 2020 Review: The Driver Era Enter a New Age with Debut Album, ‘X’ by Kelly McCafferty Dorogy
June 27, 2019<June 27, 2019 Our Take: Lust for Youth Have Found a Balance Between Their Muses with Their New Self-Titled Album by Kareem Ghezawi
June 25, 2019<June 26, 2019 Review: Emotional Oranges – A Spiel on the Toronto Sound of ‘The Juice, Vol 1’ by Ben Niesen
June 24, 2019<June 24, 2019 Our Take: Hatchie’s ‘Keepsake’ Brings Forth Something Old, and Something New by Matthew Dunn
June 18, 2019<June 18, 2019 Our Take: Crumb’s ‘Jinx’ Paves New Roads for Independent Music by Matthew Dunn
7.9 June 14, 2019<December 15, 2020 Our Take: Bastille Dissect the Anxiety and Euphoria of Modern Life on ‘Doom Days’ by Meredith Nardino
9 June 14, 2019<September 17, 2021 Our Take: Noah Kahan’s Intimate ‘Busyhead’ Is a Powerfully Moving Debut Album by Mitch Mosk
June 12, 2019<June 12, 2019 Our Take: Billie Marten’s ‘Feeding Seahorses by Hand’ Paints a Meticulous Picture of Hectic London and its Characters by Alicia Bugallo
June 7, 2019<June 7, 2019 Our Take: The Cinematic Pull of Weyes Blood’s ‘Titanic Rising’ by Frankie Rose
May 24, 2019<May 24, 2019 Our Take: Freedom Reigns in The Royal Concept’s Triumphant ‘The Man Without Qualities’ by Mitch Mosk
May 24, 2019<May 24, 2019 Trudy and the Romance Provide Jukebox Jams for the 21st Century with Debut Album ‘Sandman’ by Adrian Vargas
For the Love of Music
For the Love of Music
