October 9, 2025<October 9, 2025 Today’s Song: Annalisa & Marco Mengoni’s Stunning “Piazza San Marco” Is a Timeless Portal of Beauty, Memory, & Longing by David Buyze
10 October 8, 2025<October 8, 2025 Olivia Dean Embodies ‘The Art of Loving’ with Timeless Grace & Smoldering Soul on Her Breathtaking Sophomore Album by Mitch Mosk
October 8, 2025<October 9, 2025 Atwood Magazine’s Weekly Roundup: October 8, 2025 by Atwood Magazine Staff
October 8, 2025<October 8, 2025 “Impatience Is One of My Best Qualities”: Sam Burchfield on Change, Fatherhood, Self-Discovery, & the Ways ‘Nature Speaks’ to Him by Miranda Urbanczyk
October 8, 2025<October 8, 2025 “It Won’t Necessarily Be Perfect, But It Will Be Art”: Alicia Clara’s Soundwaves Shimmer and Shine on ‘Nothing Dazzled’ by Marissa DeLeon
October 8, 2025<October 8, 2025 “In the Fields Trying to Hide”: Blood Orange Creates a Sunlit Escape from Grief on “Countryside” by Ashley Littlefield
October 7, 2025<October 7, 2025 Interview: Benjamin Steer Is ‘Figuring It Out’ One Honest Song at a Time by Aileen Goos
October 7, 2025<October 7, 2025 There Goes the Neighborhood Review: TV on The Radio’s Personally Curated Festival by Marc Maleri
October 7, 2025<October 7, 2025 “I’m Gonna Scream It All Over the Streets”: Belgium’s Portland Embrace “Exactly What I Need” with a Cinematic, Life-Affirming Indie Pop Anthem by Mitch Mosk
October 7, 2025<October 7, 2025 The Making of Tiberius’ ‘Troubadour’: An Essay by Brendan Wright by Guest Writer
October 7, 2025<October 7, 2025 Feature: HAERTS’ ‘Laguna Road’ Is a Testament to “Sacred Mess” & Memory by Kayleigh Schweiker
October 7, 2025<October 7, 2025 Review: Alessi Rose’s ‘Voyeur’ Is Confessional Pop at Its Most Dazzling by Nicolle Knapová
October 7, 2025<October 7, 2025 From Pop Charts to Court Jesters: The Inspiration Behind Haute & Freddy’s Ingenuity by Nasim Elyasi
October 7, 2025<October 6, 2025 Review: ‘The Life of a Showgirl’ Is Taylor Swift at Her Most Ambitious – And Most Underwhelming by Mariam Bagdady
October 6, 2025<October 7, 2025 “I’d Fake My Death If It Weren’t Such a Mess”: The Format Rise Again with Restless Anthem “Holy Roller,” a Fiery, Feverish Prelude to Third Album ‘Boycott Heaven’ by Mitch Mosk
For the Love of Music
For the Love of Music
