September 2, 2022<September 1, 2022 Today’s Song: Kira McSpice Gives Herself Over to “Mirth” by Sophie Prettyman-Beauchamp
September 2, 2022<September 1, 2022 Atwood Magazine’s Weekly Roundup: September 2, 2022 by Atwood Magazine Staff
September 2, 2022<March 11, 2023 Interview: Nina Nesbitt Finds Her Love Language on Third LP ‘Älskar’ by Mitch Mosk
September 1, 2022<September 1, 2022 EP Premiere: Sydney’s Darcy Lane Debuts with ‘Heartquakes,’ a Record of Young Love’s Turmoil by Mitch Mosk
September 1, 2022<September 1, 2022 Today’s Song: The Intense Empowerment of Editors’ “Kiss” by David Buyze
August 31, 2022<August 31, 2022 The Best She Can: Savannah Conley’s New EP is Eleven Minutes of Beautifully Charged Unapologetic Upheaval by Mitch Mosk
August 31, 2022<August 31, 2022 Live Review: Rocking with SEVENTEEN at ‘BE THE SUN’ in Los Angeles by Isabella Le
August 31, 2022<August 31, 2022 Today’s Song: Reveling in MisterWives’ Cathartic and Catchy “Wrongside” by Kelly McCafferty Dorogy
August 30, 2022<August 31, 2022 “Pretty Damn Hopeful”: Pomplamoose’s Nataly Dawn Soars & Stirs on Beautifully Intimate ‘Gardenview’ by Mitch Mosk
August 30, 2022<August 30, 2022 “Swirly, Distorted, Ambience”: Basking in the Throes of Dylan Fraser’s Urgent & Unapologetic ‘2030 Revolution’ by Mitch Mosk
August 30, 2022<August 30, 2022 Review: Christie Huff Peels Back Every Layer of Emotion in ‘Favorites Collection’ by Chloe Robinson
August 30, 2022<August 30, 2022 Today’s Song: Indigo De Souza Finds Her Own Balance in “Hold U” by Nic Nichols
August 29, 2022<August 29, 2022 “A Giant Diary Entry”: Juliana Madrid’s Personal, Hot, & Exciting Coming-of-Age Debut EP by Mitch Mosk
For the Love of Music
For the Love of Music
