September 20, 2024<September 20, 2024 “I’m proud of how uncompromising it is”: Noga Erez on Her Monster Alt-Pop Album, ‘The Vandalist’ by Christine Buckley
September 20, 2024<September 20, 2024 An Album Oozing With Dangerous Ecstasy, ‘In Waves’ Is an Intense Dive into Jamie xx’s New Sound by Liv Goodbody
September 19, 2024<September 19, 2024 “Trying to Find My Way”: Musogabi Reaches for the Stars in His Debut Album ‘Cassiopeia’ by Sophie Severs
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September 18, 2024<September 18, 2024 “Strangers in another life fell hard at the right time”: Rodeo Parade’s Heart Shines on “Seasons Waiting,” a Timeless Love Song of Warmth, Wonder, & Sweet Romance by Mitch Mosk
September 18, 2024<September 18, 2024 Premiere: London’s Ziyad Al-Samman Breaks Out With a “Bang” of Love, Madness, & Disco Pop Flare by Mitch Mosk
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September 18, 2024<September 18, 2024 Beyond a ‘Reasonable Doubt’: Why Jay-Z’s Debut Is the Greatest Rap Album of All Time by Eric Schuster
September 18, 2024<September 18, 2024 “Breaking this open meant starting a riot”: Angie McMahon’s “Untangling” Is a Masterclass in Cinematic Vulnerability by Mitch Mosk
September 17, 2024<September 17, 2024 Premiere: William Harries Graham Encompasses the Early Morning Mood With “On the Outside” by Frankie Rose
September 17, 2024<September 17, 2024 “Being One With What You Make”: Ashton Irwin of 5 Seconds of Summer Traverses Passion, Philosophy, and Artistic Identity on ‘BLOOD ON THE DRUMS’ by Isabella Le
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September 16, 2024<September 18, 2024 Atwood Magazine’s Weekly Roundup: September 16, 2024 by Atwood Magazine Staff
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For the Love of Music
For the Love of Music
