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
January 31, 2022<January 31, 2022 Today’s Song: “Funny Girl” Marks a New Golden Age for Father John Misty by Nasim Elyasi
January 28, 2022<June 6, 2022 Editor’s Picks 54: Nilüfer Yanya, Jack White, NewDad, Public Domain, Foxes, & Sunflower Thieves by Mitch Mosk
8.5 January 28, 2022<January 28, 2022 Our Take: Christina Aguilera Makes a Triumphant Return to Latin Music with ‘La Fuerza’ by Josh Weiner
January 28, 2022<January 28, 2022 Atwood Magazine’s Weekly Roundup: January 28, 2022 by Atwood Magazine Staff
January 28, 2022<January 28, 2022 Today’s Song: Fergus Finds Redemption in Our Raw Depths on Tender Reeling “Flatline” by Mitch Mosk
January 27, 2022<January 27, 2022 Premiere: Sara Rachele Basks in a Moment of Intimate Reverie on “T-T-Tonight” by Mitch Mosk
January 27, 2022<January 27, 2022 “Universe, Pain, & Love”: A Track-by-Track Breakdown of The fin.’s Kaleidoscopic Album ‘Outer Ego’ by Mitch Mosk
January 27, 2022<February 7, 2022 “From the Muscle”: Verb Tec & Vanderslice’s ‘No Struggle No Progress’ Is an Undeniable Record of Ambition & Triumph by Mitch Mosk
January 27, 2022<January 30, 2024 Today’s Song: Jelani Aryeh Offers a Coming-of-Age for All Ages with “I’ve Got Some Living to Do” by Nasim Elyasi
January 27, 2022<May 11, 2022 Artist-to-Watch Suki Waterhouse is Letting Go and Opening Up by Nicole Almeida
January 26, 2022<January 26, 2022 “Being Here Now”: Penny and Sparrow Soar on ‘Olly Olly’, Their Free-Spirited & Triumphant 7th Album by Mitch Mosk
January 26, 2022<January 26, 2022 Premiere: Novaa’s “The World’s Thing” Is a Mesmeric Alt-Pop Ode to Indifference & Apathy by Mitch Mosk