May 1, 2023<May 1, 2023 Music You Should Know: Peso Pluma Fans Enter Their Corrido Era by Julia Dzurillay
May 1, 2023<May 1, 2023 Premiere: Wine Pride’s Shoegaze Anthem “Lone Flyer” Is an Ode to Alone Time by Mitch Mosk
May 1, 2023<May 1, 2023 “I’m coming home to you”: grentperez’s Dance-Ready “When The Day Is Done” Is a Sun-Soaked Celebration of Love by Mitch Mosk
9.1 May 1, 2023<May 1, 2023 Our Take: The National Fight Through the Darkness to Deliver Stunning ‘First Two Pages of Frankenstein’ by Beau Hayhoe
April 30, 2023<April 30, 2023 Podcast: Tunes & Tumblers Features LØLØ and a Life Cycle by Atwood Magazine Staff
April 29, 2023<April 30, 2023 EP Review: Indie Rock Outlaws Hippo Campus Return with ‘Wasteland’ by Nasim Elyasi
April 28, 2023<May 15, 2023 Atwood Magazine’s Weekly Roundup: April 28, 2023 by Atwood Magazine Staff
April 28, 2023<May 4, 2023 Editor’s Picks 97: Scott Orr, deem spencer, Cosial, Lizzie Esau, The Maddocks, & Alma Mater! by Mitch Mosk
April 28, 2023<April 30, 2023 Today’s Song: The Japanese House Returns With Her Wistful Single “Sad to Breathe” by Julia Dzurillay
April 27, 2023<April 30, 2023 Basking in ‘BIG WORRY’: Bec Stevens Opens Up About Her Emotionally Charged Debut Album by Mitch Mosk
April 27, 2023<April 30, 2023 Today’s Song: “Feast” on Kindelan’s Smoldering, Spicy & Sultry Seduction by Mitch Mosk
April 27, 2023<April 30, 2023 Premiere: “Things I’ve Never Said” Is Ben Strawn’s Love-Soaked, Bittersweet Indie Folk Dream by Mitch Mosk
April 27, 2023<April 30, 2023 Interview: Ransom and the Subset Return with ‘Perfect Crimes,’ Their Long-Overdue (But Worth the Wait) New Album by Julius Robinson
April 27, 2023<April 30, 2023 Premiere: Geographer’s “One / Other” Is a Radiant Reckoning of Love & Power by Mitch Mosk
April 27, 2023<April 30, 2023 Premiere: “Music Room” Is Hayfitz’s Achingly Intimate & Breathtakingly Beautiful Indie Folk Confessional by Mitch Mosk
For the Love of Music
For the Love of Music
