August 8, 2024<August 8, 2024 Premiere: Wisconsin’s Kat and the Hurricane Get It Out on “Therapy,” a Raucous Anthem of Cathartic Release by Mitch Mosk
August 8, 2024<August 8, 2024 “I’ll meet you in the fire”: East London’s Sarah Isabella Emerges on Soulful, Spiritual & Smoldering Debut EP ‘The Keeper’ by Mitch Mosk
August 8, 2024<August 8, 2024 Maximum R&B Meets Pop Art: The Who’s Musical Fruit, “Heinz Baked Beans” by Guest Writer
8 August 8, 2024<August 8, 2024 Our Take: The Playfully Explosive Musings of Remi Wolf and ‘Big Ideas’ by Frankie Rose
August 8, 2024<August 8, 2024 Today’s Song: ‘Brat’ Summer Is Here to Stay With Charli XCX’s “Guess” ft. Billie Eilish by Marc Maleri
August 7, 2024<August 7, 2024 Track-by-Track: Austin’s Font Debut With Dance-Punk Fever Dream ‘Strange Burden’ by Mitch Mosk
August 7, 2024<August 9, 2024 “Disco will never die”: Never Ending Fall Find Reinvention Through Rock Songs on ‘American Disco,’ Their Irresistible Sophomore Album by Mitch Mosk
August 7, 2024<August 7, 2024 Interview: Liang Lawrence Combines Masterful Storytelling and Unforgettable Melodies on New EP ‘What’s Dead and Gone’ by Aaron Childree
August 7, 2024<August 7, 2024 Interview: Leeds’ Sunflower Thieves Talk Friendship, “How Was America,” and the Heavy Weight of Ghosts by Mitch Mosk
August 7, 2024<August 7, 2024 “We lost our spark on the FDR”: Melanie MacLaren’s “Get it Back” Aches With the Warm Weight of Love & Grief by Mitch Mosk
August 7, 2024<August 7, 2024 “Earnest, Manic, & Playful”: Montreal’s Aistis Molds Emotional Turmoil into Musical Excellence on ‘Clay’ by Mitch Mosk
August 5, 2024<August 5, 2024 Roundtable Discussion: A Review of Glass Animals’ ‘I Love You So F***ing Much’ by Atwood Magazine Staff
August 5, 2024<August 5, 2024 Premiere: Hamish Anderson’s “You’re Mine” Is a Smoldering Display of Love & Blues Rock Charm by Mitch Mosk
For the Love of Music
For the Love of Music
