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
May 23, 2019<May 23, 2019 The Tallest Man on Earth’s ‘I Love You. It’s a Fever Dream.’: A Track-by-Track Review by Adrian Vargas
May 21, 2019<May 21, 2019 Our Take: Institute’s ‘Readjusting the Locks’ Gives a Firm Middle Finger to the Establishment by Kareem Ghezawi
May 16, 2019<May 17, 2019 Our Take: The Strength and Maturity of Carly Rae Jepsen’s ‘Dedicated’ by Danny Vagnoni
May 8, 2019<May 8, 2019 Our Take: Rodrigo y Gabriela Forge a Fiery New Path for Nuevo Flamenco on ‘Mettavolution’ by Danny Vagnoni
May 3, 2019<May 3, 2019 Our Take: Sara Bareilles’ ‘Amidst the Chaos’ is an Alluring Journey of Personal Growth & Empowerment by Alicia Bugallo
May 2, 2019<May 2, 2019 Our Take: Marissa Nadler & Stephen Brodsky’s Beautiful, Haunting ‘Droneflower’ by Kareem Ghezawi
April 30, 2019<April 30, 2019 Our Take: Rhys Lewis Enchants with the Reassuringly Reflective ‘In Between Minds’ EP by Luke Pettican
April 19, 2019<April 19, 2019 Our Take: Robert Alfons Bares His Soul on TR/ST’s ‘The Destroyer – 1’ by Kareem Ghezawi
April 18, 2019<April 18, 2019 Our Take: Abd Al Malik Still Reigns Supreme in France’s Spoken-Word Scene by Josh Weiner
For the Love of Music
For the Love of Music
