September 3, 2019<September 3, 2019 Why ‘Close It Quietly’ Is an Album like No Other: A Conversation with Frankie Cosmos by Adrian Vargas
August 30, 2019<August 30, 2019 Atwood Magazine’s Weekly Roundup: August 30, 2019 by Atwood Magazine Staff
August 30, 2019<August 30, 2019 Premiere: Cortney Dixon Dramatises Post-Relationship Alone Time with “Summer’s Eyes” by Frankie Rose
August 30, 2019<August 30, 2019 Editorial: Welcome to the New Era of Taylor Swift by Jack Mason-Brase
August 30, 2019<August 30, 2019 Review: Wylder Shine in ‘Golden Age Thinking’ with Cinematic Folk & Majestic Rock by Mitch Mosk
August 30, 2019<August 30, 2019 Lou Stone Defends Love Everywhere on New Track “Truth Toy” by Oliver Crook
August 29, 2019<August 29, 2019 Acting Like a “Real Jerk”: A Conversation with Spooky Mansion by Adrian Vargas
August 29, 2019<August 29, 2019 Premiere: Sophie Colette Unravels Intimate Vulnerability in “Would You Like It?” by Mitch Mosk
August 29, 2019<August 29, 2019 Premiere: Little Monarch Sings of Self-Discovery & Sacrifice in Wondrous “See You” by Mitch Mosk
August 29, 2019<August 29, 2019 Review: Kit Sebastian’s ‘Mantra Moderne’ Is a Postcard From Anatolia with Love by Ben Niesen
7.4 August 29, 2019<December 15, 2020 Our Take: Red Hearse Debut Their Genre-Defying Self-Titled Record by Meredith Nardino
August 29, 2019<August 29, 2019 EP Premiere: Dance Away Your Troubles with Butter’s ‘Nicotine’ by Ditta Demeter
August 29, 2019<August 29, 2019 Today’s Song: Bon Iver Shifts Cryptic Toward Clarity in “RABi” by Coco Rich
August 29, 2019<September 19, 2019 Boppy, Poppy, and Sometimes Soppy: An Interview with Litany by Mitch Mosk
For the Love of Music
For the Love of Music
