April 15, 2020<May 29, 2020 Premiere: Edward and Jane’s Cinematic New Song “The Knife” Glows with Heartaching Beauty by Mitch Mosk
April 15, 2020<April 14, 2020 Premiere: Tomo’s Second Single “For None to See” Offers a Peaceful Perspective by Kelly McCafferty Dorogy
April 14, 2020<August 7, 2023 Track-by-Track: Seazoo’s Sophomore Album Is a Feverish, Uplifting Bundle of ‘JOY’ by Mitch Mosk
8.1 April 14, 2020<December 15, 2020 Our Take: Fans of Hip-Hop & Sci-Fi Will Enjoy the Expansive Thrills of Lil Uzi Vert’s Two-Part Release, ‘Eternal Atake’ by Josh Weiner
April 14, 2020<April 16, 2020 Interview with Caroline Rose: COVID-19 Camaraderie, Concept Albums, and Crunching Cellophane by Tim Horwood
April 14, 2020<April 15, 2020 Today’s Song: Soft Plastics Play in Campy Fugue on “Rope off the Tigers” by Ben Niesen
April 14, 2020<April 13, 2020 Premiere: London’s Sonia Stein Blurs Intimate Lines with Majestic “Passerby” by Mitch Mosk
April 13, 2020<April 26, 2020 Essay: CMJ, Amazing Radio, and Live (Music) in the Time of Coronavirus by Guest Writer
April 13, 2020<April 13, 2020 Interview: Transatlantic Trio Raynes on Folk Music, Philosophical Ideals, and Isolation by Chloe Robinson
April 13, 2020<April 13, 2020 Premiere: Mo Lowda & the Humble Show That Memories Are Like Fragile “Pearls” by Nina Schaarschmidt
April 13, 2020<April 13, 2020 On “Think I’ll Stay,” Westerman Remains Relentlessly Surprising in the Face of Lyrical Melancholy by Tim Horwood
April 11, 2020<April 9, 2020 Today’s Song: Samuel Jack’s New Single “Gonna Be Alright” Shows Us the Light at the End of the Tunnel by Joe Beer
April 10, 2020<May 15, 2020 Atwood Magazine’s Weekly Roundup: April 10, 2020 by Atwood Magazine Staff
April 10, 2020<April 10, 2020 Artist-to-Watch: Forever Honey’s Dreamy “Twenty-Five” Is a Dazzling Quarter-Life Crisis by Mitch Mosk
8.8 April 10, 2020<December 15, 2020 Our Take: STRFKR’s ‘Future Past Life’ Offers Refreshing Take on Electro-Centricity by Harper Beattie