May 3, 2023<May 3, 2023 Video Premiere: Tayls’ “Nightmare” Is a Haunting, Heavy-Hitting Anthem for These Hard Times by Kelly McCafferty Dorogy
May 3, 2023<June 2, 2023 Concert Review: DPR Live & DPR Ian Reign Supreme at Their Coachella ’23 Debut by Freya Rinaldi
May 2, 2023<May 2, 2023 Feature: Photo Ops ‘Burns Bright’ on His Iridescent, Honest & Melodic Fourth Album by Mitch Mosk
May 2, 2023<May 3, 2023 “Both timely and timeless”: Babygirl Bridge Humanity & Musicianship on ‘Be Still My Heart’ by Isabella Le
May 2, 2023<May 2, 2023 ‘Guardians of the Galaxy Vol. 3’ and Marvel’s Lessons in Music Therapy by Julia Dzurillay
May 2, 2023<May 2, 2023 Album Review: Everything But The Girl’s ‘Fuse’ & the Weight of the World by David Buyze
May 2, 2023<June 9, 2023 Video Premiere: Joshua Idehen’s Moving “Learn to Swim Pt 2” Is Food for the Soul by Mitch Mosk
May 2, 2023<May 2, 2023 Today’s Song: Ryan Beatty’s “Ribbons” Marks a Delicate, Intimate Comeback by Brendan Le
May 1, 2023<May 2, 2023 Feature: Lisa/Liza’s ‘Breaking and Mending’ Is an Album About Processing Trauma & Life Itself by Mitch Mosk
May 1, 2023<May 1, 2023 Music You Should Know: Peso Pluma Fans Enter Their Corrido Era by Julia Dzurillay
May 1, 2023<May 1, 2023 Premiere: Wine Pride’s Shoegaze Anthem “Lone Flyer” Is an Ode to Alone Time by Mitch Mosk
May 1, 2023<May 1, 2023 “I’m coming home to you”: grentperez’s Dance-Ready “When The Day Is Done” Is a Sun-Soaked Celebration of Love by Mitch Mosk
9.1 May 1, 2023<May 1, 2023 Our Take: The National Fight Through the Darkness to Deliver Stunning ‘First Two Pages of Frankenstein’ by Beau Hayhoe
April 30, 2023<April 30, 2023 Podcast: Tunes & Tumblers Features LØLØ and a Life Cycle by Atwood Magazine Staff
April 29, 2023<April 30, 2023 EP Review: Indie Rock Outlaws Hippo Campus Return with ‘Wasteland’ by Nasim Elyasi
For the Love of Music
For the Love of Music
