August 20, 2024<August 20, 2024 “We’re patterns in repeat… and we’ll always be”: Laura Marling Reflects on “Patterns,” a Shimmering & Heartfelt Ode to Motherhood by Jake Fewx
August 20, 2024<August 20, 2024 Live Review: Celebrating Everything Old & New at The Greeting Committee Concert by Hannah Burns
August 20, 2024<August 20, 2024 No End and No Beginning: Inside the ‘Deadpool & Wolverine’ Soundtrack by Aidan Moyer
August 19, 2024<August 21, 2024 Atwood Magazine’s Weekly Roundup: August 19, 2024 by Atwood Magazine Staff
August 19, 2024<August 19, 2024 “I’m setting free”: Novo Amor’s Ali Lacey Finds Strength in Fragility on ‘Collapse List,’ an Album of Upheaval & Rediscovery by Mitch Mosk
August 19, 2024<August 19, 2024 “Smothered by the dream”: OMBIIGIZI Premiere “Laminate the Sky,” a Song of Freedom, Place, & Truth Off Sophomore LP ‘Shame’ by Mitch Mosk
August 19, 2024<August 19, 2024 Interview with Loup Barrow: An Inventive Percussionist Is Back From the French Coast With New LP ‘Immineo’ in Tow by Josh Weiner
August 19, 2024<August 19, 2024 With “Reputation,” Hana Giraldo Steps into the Spotlight and Flips the Public’s Perception Upside-Down by Grace Holtzclaw
August 16, 2024<August 19, 2024 Interview: Isabel Dumaa’s “C’est La Vie” Is an Anthem of Angst, Liberation, & Acceptance by Mitch Mosk
August 15, 2024<August 15, 2024 Review: Footballhead Deliver a Ripping Alt-Rock Record on ‘Before I Die’ by James Crowley
August 15, 2024<August 14, 2024 Today’s Song: Brooklyn Trio Psychic Lines’ “LA in My Mind” Captures the Idea of Clinging onto a Beautiful Illusion by Chloe Robinson
August 15, 2024<August 14, 2024 Track-by-Track: Home Is Where’s ‘the whaler’ Is a Lifetime of Damnation, Lived Again, and Again, and Again… by Frederick Bloy
August 15, 2024<August 14, 2024 Premiere: Billy Keane’s Feel-Good “Girl Ain’t Mine” Is Breathtaking, Soul-Shaking Blues Rock at Its Finest by Mitch Mosk
August 14, 2024<August 14, 2024 Interview: ‘A Time to Live, A Time to Die,’ and a Time to Lend Amor Muere an Ear by Josh Weiner