February 4, 2022<February 4, 2022 Today’s Song: Hana Eid Channels Young Love’s Passion in Cinematic Anthem “Dancing to The Smiths” by Mitch Mosk
February 4, 2022<February 4, 2022 Atwood Magazine’s Weekly Roundup: February 4, 2022 by Atwood Magazine Staff
February 3, 2022<February 3, 2022 Today’s Song: Peter Raffoul Is Barely Moving on in Radiant Second Single “cigarette holes” by Mitch Mosk
February 3, 2022<February 3, 2022 Premiere: MA/SA Dwells in Grief’s Void on Aching, Ethereal New Single “In My Breath” by Mitch Mosk
February 3, 2022<February 3, 2022 Chasing the Sun: An Interview with Californian Surf Band Sun Room by Lilly Eason
February 3, 2022<February 3, 2022 Interview: Palace Get Reflective and Deep on New Lockdown-Inspired Album, ‘Shoals’ by Beau Hayhoe
February 2, 2022<February 2, 2022 Interview: West Virginia’s Philip Bowen Finds Comfort in Hope for Happier Days Ahead by Chloe Robinson
February 2, 2022<February 2, 2022 Review: Dijon’s ‘Absolutely’ Is a Force to Be Reckoned With by Nasim Elyasi
February 2, 2022<February 2, 2022 Premiere: Micah Edwards Channels His Texas Soul in “Jean Leon” by Mitch Mosk
February 2, 2022<February 2, 2022 Book Review: ‘Dilla Time’ Captures the Little Acknowledged Musical Revolution of the 1990s by Oliver Crook
February 1, 2022<February 1, 2022 Video Premiere: Philly’s Verb Tec & Vanderslice Hit Home on “Letter From Portsmouth,” an Epic & Dynamic Artistic Statement by Mitch Mosk
February 1, 2022<April 30, 2022 A Casual Ramble: Requiem for Three Albums Involuntarily Placed on My Back-Burner by Ben Niesen
January 31, 2022<January 31, 2022 Premiere: Toronto’s No Frills Explore Identity & Emulation in Buoyant “Copy Cat” by Mitch Mosk
January 31, 2022<February 3, 2022 Interview: LA’s Kit Major Talks “Solo Disco” & Being Raised by Lovers of All Things Punk by Chloe Robinson