March 1, 2019<March 20, 2019 Atwood Magazine’s Weekly Roundup: March 1, 2019 by Atwood Magazine Staff
March 1, 2019<March 2, 2019 Album Premiere: Cape Francis’ ‘Deep Water’ Is Raw Alternative Bliss by Mitch Mosk
March 1, 2019<February 28, 2019 Premiere: Maria Neckam is Unafraid of Change in “Familiar” by Caitlin Ison
March 1, 2019<February 28, 2019 Today’s Song: Cat Clyde Provides a Dark & Meditative Voyage with “All the Black” by Adrian Vargas
March 1, 2019<February 28, 2019 Premiere: Quelle Rox’s “Tired” Turns Fatigue into a Lusciously Hypnotic Celebration by Frankie Rose
February 28, 2019<March 20, 2019 The Anxious, Liminal Life on the Road: An Interview with Donovan Woods by Mitch Mosk
February 28, 2019<February 28, 2019 Live: James Blake’s Ravishing Minimalism Captivates Philadelphia by Nicole Almeida
February 28, 2019<February 28, 2019 Premiere: The Next Great American Novelist Return with Infectiously Alternative “Blackberry” by Mitch Mosk
February 28, 2019<February 28, 2019 Premiere: Head for the Hills Chase the Daylight on “Darkness Meets the Day” by Anthony Kozlowski
February 28, 2019<February 28, 2019 Premiere: Calan Mai’s Catchy “Friend of a Friend,” a Tender Love Song to an Ex by Mitch Mosk
February 28, 2019<February 28, 2019 EP Review: Baby Boys Reinvent the Creative Process on Debut EP ‘I’m Set’ by Meredith Nardino
February 28, 2019<February 28, 2019 Interview: Tommy Tackles Desolate Desperation with “Pyre” by Luke Pettican
February 28, 2019<February 28, 2019 Premiere: The Hauntingly Intimate Empowerment of Vesper Wood’s “The Wall” by Mitch Mosk
February 28, 2019<February 28, 2019 The Importance of Expressing Our Vulnerable Side with Fiona Grey’s “Girls Like Me” by Frankie Rose
For the Love of Music
For the Love of Music
