8.7 January 12, 2021<January 12, 2021 Review: Shame Color Life’s Grey Areas on Sophomore Album ‘Drunk Tank Pink’ by Guest Writer
8.1 January 11, 2021<January 11, 2021 Our Take: Poppy’s ‘I Disagree’ Is a Raucous Ode to Artistic Freedom by Danny Vagnoni
8.3 January 4, 2021<January 4, 2021 Our Take: Bruce Springsteen’s ‘Letter to You’ Is a Neat Parcel of Mortality, Youth, and The Boss by Bethan Harper
8 December 22, 2020<December 21, 2020 Our Take: Lera Lynn Settles into Herself in ‘On My Own’ & Finds Forgiveness In-Between the Bars by Emily Frances Algar
9 December 21, 2020<December 21, 2020 Our Take: The Avalanches Start a New Chapter with ‘We Will Always Love You’ by Leo Culp
8.6 December 17, 2020<December 17, 2020 “Warm Traveled Forgiveness”: Mimi Gilbert Lights a Visceral Folk Fire in Debut ‘Grew Inside the Water’ by Mitch Mosk
7.9 December 17, 2020<December 17, 2020 Our Take: Kid Cudi Crafts a Fitting Final Chapter to His Trilogy with ‘Man on the Moon III: The Chosen’ by Josh Weiner
9.4 December 17, 2020<December 16, 2020 “Hopeful, Liberated, & Futile”: London’s Seafarers on Their Stirring, Standout Debut ‘Orlando’ by Mitch Mosk
7.7 December 16, 2020<December 16, 2020 Our Take: Megan Thee Stallion Swiftly Claims Dominance in the Rap World on Debut LP, “Good News.” by Josh Weiner
9.1 December 14, 2020<December 15, 2020 Tenderness in Chaotic Times: Taiwan’s Sunset Rollercoaster on Buoyant 3rd Album ‘SOFT STORM’ by Mitch Mosk
7 December 3, 2020<December 18, 2020 Review: TWICE Court New Listeners & Old with Their Wildly Varied ‘Eyes Wide Open’ by Danny Vagnoni
8.7 December 1, 2020<December 15, 2020 Our Take: No Thank You Chart Emotional & Sonic Depths on ‘Embroidered Foliage’ by Nick Matthopoulos
8.6 November 20, 2020<December 15, 2020 Track-by-Track: Elsa Birgitta Bekman’s Cinematic & Graceful Debut Album ‘Once in My Life’ by Mitch Mosk
8 November 17, 2020<December 15, 2020 Our Take: Clipping. Come Out Swinging & Unsettling on ‘Visions of Bodies Being Burned’ by Josh Weiner
7.1 November 16, 2020<December 15, 2020 Review: Emma Ruth Rundle & Thou’s ‘May Our Chambers Be Full’ Seizes a Bleak Moment & Subsumes It by Danny Vagnoni
For the Love of Music
For the Love of Music
