October 10, 2022<October 10, 2022 Today’s Song: Finding Peace in Solidarity with Legit Smitty’s “On My Feet” by Lauren Hicks
October 8, 2022<October 26, 2022 Hozier’s New Song “Swan Upon Leda” Is a Hauntingly Beautiful Prayer, Plea, & Cry for Reproductive Rights by Mitch Mosk
October 7, 2022<October 7, 2022 Interview: Sean Nicholas Savage Embodies His Inner Light on ‘Shine’ by Sophie Prettyman-Beauchamp
October 7, 2022<March 11, 2023 ‘How It Ends’: Brooklyn’s TOLEDO Debut with Trauma, Vulnerability, & Breathtaking Sonic Warmth by Mitch Mosk
October 7, 2022<October 11, 2022 Atwood Magazine’s Weekly Roundup: October 7, 2022 by Atwood Magazine Staff
October 7, 2022<October 7, 2022 Pearla’s “About Hunger, About Love” Is a Pondering of Loneliness in a Not So Lonesome Way by Frankie Rose
October 7, 2022<March 11, 2023 Interview: easy life’s ‘MAYBE IN ANOTHER LIFE…’ Is a Party Unlike Any You’ve Attended by Mitch Mosk
October 6, 2022<October 6, 2022 Premiere: The Unabating Intensity of Russian Baths’ Haunting “Rise Again” by Mitch Mosk
October 6, 2022<October 6, 2022 Intimacy Manifest: Jon DeRosa Opens Up About Aarktica’s Stirring New LP, ‘We Will Find the Light’ by Mitch Mosk
October 6, 2022<October 6, 2022 “Hometowns are for leaving”: Charlie Burg Soars on His Warm, Wide, Wishful Debut LP, ‘Infinitely Tall’ by Mitch Mosk
October 6, 2022<October 6, 2022 Track-by-Track: Devour Lustrous Euphoria with Joulie Fox’s New EP ‘Love Is a Blessing’ by Joe Beer
October 6, 2022<October 6, 2022 Today’s Song: Adam Melchor’s “Cry” is Pure Escapism & Unapologetic Reflection by Rachel Leong
October 6, 2022<October 5, 2022 Premiere: Villages’ “Love Will Live On” Emphasizes the Charm of Simple Living by Frankie Rose
October 6, 2022<October 5, 2022 Premiere: Billy Raffoul Breaks Free on “We Could Get High” by Anthony Kozlowski
October 5, 2022<March 11, 2023 Tides of the Self: A Conversation with Indigo Sparke on Fearless Sophomore Album ‘Hysteria’ by Coco Rich
For the Love of Music
For the Love of Music
