October 27, 2020<October 28, 2020 TikTok, The Music Industry, and Self-Producing: An Interview with Avenue Beat by Frankie Rose
October 27, 2020<November 4, 2021 Premiere: Well Kept’s Tranquil “Settling” Is a Heavy Meditation on Moving On by Mitch Mosk
October 27, 2020<October 27, 2020 The Sophomore Series: Adele’s ‘21’ and Frank Ocean’s ‘Blonde’ by Leo Culp
October 26, 2020<October 26, 2020 Track by Track: The Phoenix Foundation’s ‘Friend Ship’ Explores Connection on Many Levels by Mitch Mosk
October 26, 2020<October 26, 2020 Track-by-Track: Youngstown’s Sister Luna Lay a Seductive Groundwork with Debut EP ‘Sanguine’ by Mitch Mosk
October 26, 2020<October 26, 2020 Feature: Deciphering the Ghost of Jackson C. Frank by Diego Morales
October 26, 2020<October 26, 2020 Interview: Takuya Kuroda is Conquering the World’s Biggest Cities by Way of the Trumpet by Josh Weiner
October 26, 2020<October 26, 2020 Today’s Song: Alostmen Reimagine Traditional Ghanian Music on Party Anthem “Kologo” by Oliver Crook
October 23, 2020<November 15, 2020 Atwood Magazine’s Weekly Roundup: October 23, 2020 by Atwood Magazine Staff
October 23, 2020<October 23, 2020 Interview: Loma’s ‘Don’t Shy Away’ and “The Pleasure of Sound” by Ben Niesen
October 23, 2020<October 23, 2020 Today’s Song: Charlotte Cardin Keeps Things Sensual & Self-Assured with “Passive Aggressive” by Frankie Rose
October 23, 2020<November 15, 2020 “You Are Here”: Jealous of the Birds Soars with Fresh Depth, Energy, & Passion in ‘Peninsula’ by Mitch Mosk
October 23, 2020<October 23, 2020 “Loud, Brutal, Extreme, Unapologetic, Sexy, and with a Short Span of Attention”: An Interview with Olivia Anna Livki by Josh Weiner
October 22, 2020<October 22, 2020 Interview: Angie McMahon Dives into Her “Melancholy, Introverted, & Imperfect” New EP, ‘Piano Salt’ by Mitch Mosk
October 22, 2020<October 22, 2020 Artist to Watch: Spirit of the Bear Take Off with Dark Charm & Cinematic Finesse in “The Shape” by Mitch Mosk
For the Love of Music
For the Love of Music
