December 14, 2018<December 20, 2018 Mistletones: The Raw, Pained Passion of C. SHIROCK’s “First Snow” by Mitch Mosk
December 14, 2018<December 14, 2018 Today’s Song: Healing is a Tempo Change for Snail Mail’s “Heat Wave” by Ben Niesen
December 13, 2018<December 20, 2018 Mistletones: Camp Crush Bring Holiday Magic to “Winter’s Dream” by Mitch Mosk
December 13, 2018<January 16, 2019 Atwood Magazine Presents: Mistletones, Pt. I by Atwood Magazine Staff
December 13, 2018<December 12, 2018 Today’s Song: French for Rabbits Explore New Heights with “Highest Hill” by Frankie Rose
December 12, 2018<December 20, 2018 Premiere: FERGUS’ Hauntingly Tender “Strangers in the Night” Will Take Your Breath Away by Mitch Mosk
December 12, 2018<December 12, 2018 Today’s Song: JP Saxe Reimagines the Breakup Anthem with “25 in Barcelona” by Luke Pettican
December 11, 2018<December 20, 2018 Mistletones: End-of-Year Euphoria Courtesy of Whyte Horses’ Christmas Song “Next Year Will Be Mine” by Frankie Rose
December 11, 2018<December 9, 2018 Today’s Song: Matt Mays Reinvents Himself with Haunting “Howl at the Night” Acoustic Version by Oliver Crook
December 10, 2018<May 31, 2022 Today’s Song: Carly Rae Jepsen’s “Party for One” Is an Ode to Solitude by Danny Vagnoni
December 7, 2018<December 21, 2018 Atwood Magazine’s Weekly Roundup: December 7, 2018 by Atwood Magazine Staff
December 7, 2018<December 7, 2018 Today’s Song: Gengahr Embrace Vulnerability in “Where Wildness Grows” by Ditta Demeter
December 6, 2018<December 6, 2018 The Water Cycle Embody Nostalgia & Infatuation in “(You’re So Square) Baby I Don’t Care” by Coco Rich
December 5, 2018<February 6, 2024 Viewfinder: “Company” and “All Is Full of Love” Examine the Interplay Between Love & Technology by Carmen Chan
For the Love of Music
For the Love of Music
