April 25, 2022<April 25, 2022 Album Review: Matchess’ ‘Sonescent’ Is an Amalgam of Sounds, Space, & Reflection by Nick Matthopoulos
April 22, 2022<September 29, 2022 Editor’s Picks 60: Lo, Jo Schornikow, Lisa Remar, Moreton, Katy J Pearson, & néomí by Mitch Mosk
April 22, 2022<April 22, 2022 Atwood Magazine’s Weekly Roundup: April 22, 2022 by Atwood Magazine Staff
April 21, 2022<May 12, 2023 Interview: Lizzy McAlpine Cuts Deep with Stunning Sophomore LP ‘five seconds flat’ by Nasim Elyasi
April 21, 2022<April 21, 2022 Track-by-Track: Inside Sandman Sleeps’ Stirring, Honest, & Climatic Debut Album, ‘Crisis Actor’ by Mitch Mosk
April 21, 2022<April 21, 2022 “Explosive, Colourful, & Nostalgic”: The Lazy Eyes Deliver a Kaleidoscopic Psych Rock Revue in Debut ‘SongBook’ by Mitch Mosk
April 21, 2022<April 21, 2022 EP Review: On ‘My Golden Horse,’ Jon Waltz Represents the Memphis R&B and Hip-Hop Scene with Equal Finesse by Josh Weiner
April 21, 2022<April 20, 2022 “Passionate, Cathartic, & Loving”: Deanna Petcoff Soars on Stunning Debut ‘To Hell With You, I Love You’ by Mitch Mosk
April 20, 2022<April 20, 2022 “Raw & Unfiltered”: Philadelphia’s Bri Steves Dives into Her Uninhibited, Undeniable Debut Project, ‘TBH’ by Mitch Mosk
April 20, 2022<April 20, 2022 Today’s Song: Paisley Black’s “Bet You Wish” Showcases Heartache & Regret in a Seductive ’60s Sound by Chloe Robinson
April 19, 2022<April 22, 2022 Roundtable Discussion: Treefort 10 Was a Choose-Your-Own-Adventure Spectacular by Atwood Magazine Staff
April 19, 2022<April 19, 2022 “Poignant Abject Pop”: Primer Dives into Her Stunning & Cinematic Synthpop LP, ‘Incubator’ by Mitch Mosk
April 19, 2022<April 19, 2022 “Pain, Hope, & Memoriam”: Gregory Ackerman Discusses His Beautifully Aching Sophomore Album ‘Still Waiting Still’ by Mitch Mosk
April 15, 2022<April 15, 2022 Atwood Magazine’s Weekly Roundup: April 15, 2022 by Atwood Magazine Staff