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
April 10, 2020<April 10, 2020 Today’s Song: Camille Delean Balances Midsummer Blues & Anxiety on “Fault Line (Late July)” by Adrian Vargas
7.9 April 10, 2020<August 16, 2021 Our Take: Niall Horan Brings Light to a Quiet World with Sophomore Album ‘Heartbreak Weather’ by Erica Danielle Garcia
April 10, 2020<April 10, 2020 Essay: Nicotine Dolls on New Song “After the End,” Social Distancing, and Connection During COVID-19 by Guest Writer
April 9, 2020<April 9, 2020 Review: Beoga & Lissie Erupt “In a Rocket” with Catchy, Feel-Good Passion by Mitch Mosk
April 9, 2020<October 26, 2023 Growth in a Time of Stress: A Conversation with The Districts by Matthew Dunn
April 9, 2020<April 9, 2020 Today’s Song: McCall Exhilarates with Fire, Pop, and Personal Antagonism in “Disaster” by Baylee Less
April 9, 2020<June 29, 2024 Roundtable Discussion: A Review of ‘3.15.20’, Childish Gambino’s Memorable (Supposedly) Final Act by Atwood Magazine Staff
April 9, 2020<April 6, 2020 Music You Should Know: The Unpredictable but Intriguing Sounds of Weatherday’s ‘Come In’ by Nick Matthopoulos
April 9, 2020<April 9, 2020 Premiere: Half Light Go Track-by-Track Through the Shades of ‘Good Latimer’ by Coco Rich
April 9, 2020<April 9, 2020 Anxiety, Innocence, and Vulnerability: An Interview with Chloe Moriondo by Mitch Mosk
April 9, 2020<April 8, 2020 Breaking the Record with Roan Yellowthorn, Part 10: Building the Community by Guest Writer
For the Love of Music
For the Love of Music
