June 7, 2019<June 7, 2019 Our Take: The Cinematic Pull of Weyes Blood’s ‘Titanic Rising’ by Frankie Rose
May 30, 2019<May 30, 2019 Our Take: Catfish and the Bottlemen Have Found Their Success Formula, and Stick to It on ‘The Balance’ by Alicia Bugallo
May 30, 2019<May 30, 2019 Ruminations in the Abyss: A Look Back On The Cure’s ‘Disintegration’ Thirty Years On by Kareem Ghezawi
May 28, 2019<May 28, 2019 Review: Amyl and The Sniffers’ Self-Titled Debut Album is a Punk Masterpiece by Danielle Chelosky
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 22, 2019<August 5, 2021 Solange’s Gorgeous ‘When I Get Home’ Melds Floor-Shaking Beats with Dizzying Songwriting by Atwood Magazine Staff
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 20, 2019<May 20, 2019 Album Premiere: Moving On with Meiko’s Breathtakingly Intimate ‘In Your Dreams’ by Mitch Mosk
May 16, 2019<May 17, 2019 Our Take: The Strength and Maturity of Carly Rae Jepsen’s ‘Dedicated’ by Danny Vagnoni
May 16, 2019<May 23, 2019 Review: Tank and The Bangas’ Luminous, Theatrical Album ‘Green Balloon’ by Mariel Fechik
May 14, 2019<May 14, 2019 Review: Reese McHenry Roars into Our Ears & Hearts with Blistering LP ‘No Dados’ by Oliver Crook
For the Love of Music
For the Love of Music
