January 6, 2023<January 6, 2023 Interview: The Snuts Guitarist Joe McGillveray Muses on His Musical Past, Present, & Future by Andrew Daly
January 6, 2023<January 6, 2023 Today’s Song: “Up Granville” Is Peach Pit’s Ode to the Woes of Solitude by Miles Campbell
January 5, 2023<January 10, 2023 Feature: The Escapist Fantasy of La Femme’s ‘Teatro Lúcido’ by Lilly Eason
January 5, 2023<January 5, 2023 Today’s Song: Delving into Genre-Blending Euphony with Tommy Newport & Jazz Cartier’s Latest Offering “Jackpot” by Joe Beer
January 5, 2023<January 17, 2023 Interview: Markéta Irglová’s Roots Go Deep on Beautifully Vulnerable Album ‘Lila’ by Nasim Elyasi
January 4, 2023<January 5, 2023 “It Felt Like a Birth”: EMELINE on Her Explosive Debut and Latest Single, “Venting to Strangers” by Nic Nichols
8.6 January 4, 2023<September 20, 2023 Our Take: SZA Shines on Outstanding Sophomore Album ‘SOS’ by Josh Weiner
January 4, 2023<January 4, 2023 Today’s Song: The Lemon Twigs Declare Love at Second Sight with New Single, “Corner of My Eye” by Sophie Severs
December 21, 2022<December 21, 2022 Atwood Magazine’s 2022 Albums of the Year by Atwood Magazine Staff
December 20, 2022<April 26, 2023 Artist to Watch: OTNES Grieves & Glistens on Dreamy, Dazzling Debut Single “SPIN” by Mitch Mosk
December 20, 2022<December 20, 2022 “I’m trying to keep rock and roll alive”: Andy Frasco on the Most Important Song He’s Ever Written by Nick Polak
December 19, 2022<December 18, 2022 Today’s Song: Algiers Get Collaborative & Team with Zack de la Rocha for “Irreversible Damage” Off 4th LP, ‘Shook’ by Beau Hayhoe
December 19, 2022<January 7, 2023 Atwood Magazine Presents Mistletones: 2022’s Best New Holiday Songs, Pt. 3 by Atwood Magazine Staff
December 16, 2022<December 16, 2022 Interview: Crowder Gets into the Holiday Spirit with Festive, Faithful, & Funny Christmas Album, ‘Milk & Cookies: A Merry Crowder Christmas’ by Mitch Mosk
For the Love of Music
For the Love of Music
