November 16, 2020<December 9, 2024 A Decade Inside: Agoraphobic Musician Behind Flatsound Discusses Art and Mental Health by Guest Writer
7.1 November 16, 2020<December 15, 2020 Review: Emma Ruth Rundle & Thou’s ‘May Our Chambers Be Full’ Seizes a Bleak Moment & Subsumes It by Danny Vagnoni
November 13, 2020<November 13, 2020 “Grolsch, Ocean, API”: Yukon Blonde Soar Bold & True in 5th Album ‘Vindicator’ by Mitch Mosk
November 13, 2020<December 22, 2020 Freedom in Limitations & Other People’s Stories: A Conversation with Marika Hackman by Nicole Almeida
November 13, 2020<November 13, 2020 “Bold, Exciting, and Diverse”: Ohio’s 90’s Kids Debut Their ‘Doing Love Wrong’ EP by Mitch Mosk
November 13, 2020<April 8, 2021 Interview: Latin Grammy Nominee Nathy Peluso Takes Us Through Debut Album ‘Calambre’ by Alicia Bugallo
November 13, 2020<November 13, 2020 Interview: Chicago’s Tara Terra Open Up with Intimacy & Fragility on Tender “T-Shirt” by Mitch Mosk
November 13, 2020<November 15, 2020 Atwood Magazine’s Weekly Roundup: November 13, 2020 by Atwood Magazine Staff
November 13, 2020<November 13, 2020 Video Premiere: The Dawdler’s “Sign of Growth” Is an Enrapturing Ode to a Lost Soul by Adrian Vargas
November 12, 2020<November 12, 2020 Interview: Feeling Dominated by Our Devices with Kidgloves’ “Satellite” by Chloe Robinson
November 12, 2020<November 12, 2020 Breaking the Record with Roan Yellowthorn, Part 40: Part 2 by Guest Writer
November 12, 2020<November 12, 2020 “Melancholy, Harry Potter, & Soda”: VALLEY Dive into Dynamic 2020 EP ‘sucks to see you doing better’ by Mitch Mosk
November 12, 2020<June 29, 2024 Roundtable Discussion: A Review of Ariana Grande’s ‘Positions’ by Atwood Magazine Staff
November 12, 2020<November 12, 2020 Track-by-Track: Melbourne Trio Woodlock Embrace Struggle & Growth on ‘Collateral’ EP by Mitch Mosk
November 12, 2020<November 12, 2020 Premiere: Dublin’s Magazines Release an Existential Dream Pop Reckoning in “Pink and Blue” by Mitch Mosk
For the Love of Music
For the Love of Music
