November 13, 2020<November 15, 2020 Atwood Magazine’s Weekly Roundup: November 13, 2020 by Atwood Magazine Staff
November 13, 2020<November 13, 2020 Video Premiere: The Dawdler’s “Sign of Growth” Is an Enrapturing Ode to a Lost Soul by Adrian Vargas
November 12, 2020<November 12, 2020 Interview: Feeling Dominated by Our Devices with Kidgloves’ “Satellite” by Chloe Robinson
November 12, 2020<November 12, 2020 Breaking the Record with Roan Yellowthorn, Part 40: Part 2 by Guest Writer
November 12, 2020<November 12, 2020 “Melancholy, Harry Potter, & Soda”: VALLEY Dive into Dynamic 2020 EP ‘sucks to see you doing better’ by Mitch Mosk
November 12, 2020<November 12, 2020 Roundtable Discussion: A Review of Ariana Grande’s ‘Positions’ by Atwood Magazine Staff
November 12, 2020<November 12, 2020 Track-by-Track: Melbourne Trio Woodlock Embrace Struggle & Growth on ‘Collateral’ EP by Mitch Mosk
November 12, 2020<November 12, 2020 Premiere: Dublin’s Magazines Release an Existential Dream Pop Reckoning in “Pink and Blue” by Mitch Mosk
November 12, 2020<November 12, 2020 Album Premiere: The Brummies Find Artistic Evolution Through Familiar Sounds on Longing Sophomore LP ‘Automatic World’ by Jordan Catagnus
November 12, 2020<November 12, 2020 Interview: Diving Into Wild Youth’s Sure Success Song “Through the Phone” by Bethan Harper
November 11, 2020<November 11, 2020 Album Premiere: Aussie Duo Cry Club Redefine “Bubblegum Punk” in Standout Debut ‘God I’m Such a Mess’ by Mitch Mosk
November 11, 2020<November 11, 2020 Interview: How Ólafur Arnalds Put His Soul into New Record ‘Some Kind of Peace’ by Dimitra Gurduiala
November 11, 2020<November 11, 2020 Bon Iver, Space, and a Country Song Lullaby: An Interview with Leif Vollebekk by Mitch Mosk
November 11, 2020<November 11, 2020 Today’s Song: Love and Dance the Night Away with Romy’s “Lifetime” by Nicole Almeida
November 11, 2020<November 11, 2020 Review: Adrianne Lenker’s Stunning Double Album ‘songs’ & ‘instrumentals’ by Mariel Fechik