February 9, 2022<February 9, 2022 “It’s about friendship”: Melbourne’s Partner Look Debut with Warm, Fun, & Quirky Off-Kilter Pop Album, ‘By the Book’ by Mitch Mosk
February 9, 2022<February 9, 2022 Track-by-Track: Sam Weber Dives into the Heartfelt Depths of ‘Get Free’ by Mitch Mosk
February 9, 2022<February 9, 2022 Interview: Fickle Friends Explain Their Latest, Hedonistic Album ‘Are We Gonna Be Alright?’ by Dimitra Gurduiala
February 9, 2022<February 9, 2022 “Outside of the Blue”: SPINN Harness the Power of Love on Seductive, Soaring Second Album by Mitch Mosk
February 9, 2022<February 9, 2022 Premiere: Anna Sun Hits Like a Train on “What a Shame” by Ben Niesen
February 8, 2022<February 8, 2022 Today’s Song: treesreach’s “How It Seems” Is an Anthem for The Great Resignation by Mitch Mosk
February 8, 2022<February 8, 2022 Review: Keb’ Mo’ Returns to – and Reimagines – Compton on New Album ‘Good to Be’ by Oliver Crook
February 7, 2022<February 7, 2022 Premiere: Brooklyn Band Sooner Channel a Whisper & a Shout in Stirring New Single “Thursday” by Mitch Mosk
February 7, 2022<February 7, 2022 Interview with Blonde Maze: ‘Something Familiar,’ Yet Also Wildly Innovative, Out From EDM Auteure by Josh Weiner
February 7, 2022<February 7, 2022 Today’s Song: Allan Rayman Breaks into New Realms with “Rider” by Joe Beer
February 4, 2022<February 4, 2022 “It’s a Dream!”: Inside Hembree’s Refreshingly Vibrant, Layered, & Ambitious Sophomore Album by Mitch Mosk
February 4, 2022<February 4, 2022 “STILL LIFE”: The Slow Show Create ‘Moments of Feeling’ in Beautifully Radiant & Resonant 4th Album by Mitch Mosk
February 4, 2022<February 4, 2022 Today’s Song: Hana Eid Channels Young Love’s Passion in Cinematic Anthem “Dancing to The Smiths” by Mitch Mosk
February 4, 2022<February 4, 2022 Atwood Magazine’s Weekly Roundup: February 4, 2022 by Atwood Magazine Staff
For the Love of Music
For the Love of Music
