August 6, 2019<August 6, 2019 Today’s Song: The Haunting Poetry of Flora Hibberd’s “In Violence” by Frankie Rose
August 5, 2019<August 5, 2019 Highlighting the Drudgery & Affirmation of Human Worth with Squid’s “The Cleaner” by Danny Vagnoni
August 2, 2019<August 2, 2019 Atwood Magazine’s Weekly Roundup: August 2, 2019 by Atwood Magazine Staff
August 2, 2019<August 2, 2019 This Just In: Devendra Banhart Delivers on the Universal Language of Loss with the Achingly Beautiful “Memorial” by Adrian Vargas
August 2, 2019<August 2, 2019 Album Review: Ritt Momney’s Triumphant Debut ‘Her and All of My Friends’ by Harper Beattie
August 2, 2019<August 2, 2019 Premiere: Field Mouse Get Apocalyptic in Intimate New Song “Black Hole, Son” by Mitch Mosk
August 2, 2019<August 2, 2019 Premiere: The Dreamy Folk-Rock Flow of Time for T’s “Screenshot” by Mitch Mosk
August 2, 2019<August 2, 2019 Today’s Song: Goth Babe Preserves DIY Elements of the Alternative Music Scene with “Imaginationcy” by Harper Beattie
August 1, 2019<August 1, 2019 MisterWives’ Unapologetic “whywhywhy” Is a Dynamic Post-Breakup Reckoning by Mitch Mosk
August 1, 2019<August 1, 2019 Heartache & Hope in the Same Room: An Interview with JP Saxe by Luke Pettican
August 1, 2019<August 1, 2019 Premiere: Lily Kershaw Grapples with Past & Present in Her Latest Single “Now & Then” by Madison Vettorino
August 1, 2019<October 22, 2019 Premiere: Opeongo’s Expansive Single “Less of Me” Gives Us More by Ilana Kalish
August 1, 2019<August 1, 2019 Premiere: Rosier Reveal Their New Identity in “Vie Pénible” by Ditta Demeter
August 1, 2019<August 1, 2019 Today’s Song: The Reflective Rumination of Rhys Lewis’ “What If” by Luke Pettican
For the Love of Music
For the Love of Music
