February 23, 2023<February 23, 2023 “The Fight for Freedom & Equality from Grandma’s Front Porch”: An Essay by Malina Moye by Guest Writer
February 23, 2023<February 23, 2023 Artist to Watch: Mica Millar Premieres Her Cinematic “Trouble” Video with Searing Passion & Stunning Soul by Mitch Mosk
February 22, 2023<February 22, 2023 Feature: MAITA Is Transformed on Her Raw, Alive, & Vulnerable Acoustic Album, ‘Loneliness’ by Mitch Mosk
February 22, 2023<February 22, 2023 Nostalgic, Anxious, & Exhilarating: Stockholm’s Girl Scout Celebrate the Struggle in Debut EP ‘Real Life Human Garbage’ by Mitch Mosk
February 22, 2023<February 22, 2023 Feature: Elanor Moss & the Universe of ‘Cosmic,’ Where Playful Honesty Meets Creative Experimentation by Rachel Leong
February 22, 2023<February 22, 2023 Today’s Song: vivi rincon Tunes Out the Noise of “the party” & Ruminates on Love by Mitch Mosk
February 21, 2023<February 21, 2023 Caroline Polachek Broadcasts From a Dazzling, Restless, & Often Bizarre Place on ‘Desire, I Want to Turn Into You’ by Kevin Krein
February 21, 2023<April 30, 2023 Podcast: Tunes & Tumblers Features Loviet and a Messy Layers by Atwood Magazine Staff
February 21, 2023<February 21, 2023 Interview: Alexz Johnson Offers a Heartfelt Hug in “Hurt Me,” an Achingly Beautiful Song of Unconditional Love by Mitch Mosk
February 21, 2023<February 21, 2023 Today’s Song: Photo Ops Mourns a Friendship in “You Must Not Need a Friend At All,” a Wistful Indie Folk Reckoning by Mitch Mosk
8.3 February 20, 2023<February 20, 2023 Our Take: Oddisee Does the DC Rap Scene Proud on ‘To What End’ by Josh Weiner
February 20, 2023<February 17, 2023 Today’s Song: Clara Mann’s Intimate “Confessions” Masterfully Finds the Silver Lining During Loss by Sophie Severs
February 17, 2023<May 15, 2023 Atwood Magazine’s Weekly Roundup: February 17, 2023 by Atwood Magazine Staff
For the Love of Music
For the Love of Music
