August 14, 2019<August 14, 2019 Interview: Harry Marshall Excites with the Endlessly Enthralling “High Hopes” by Luke Pettican
August 14, 2019<August 14, 2019 Today’s Song: Baggage Reconnect with the Past in “Where You Are” by James Crowley
August 13, 2019<August 13, 2019 Sonny Santos’ Beautiful Debut Album ‘Hotel de Londres’ Aches of a Tortured Soul by Mitch Mosk
August 13, 2019<August 13, 2019 Premiere: Aussie Up-and-Comer Stevan Soaks up the Sun in “LNT” by Mitch Mosk
8.1 August 13, 2019<December 15, 2020 Our Take: Necking’s ‘Cut Your Teeth’ is Pure Blunt Bombast by Danny Vagnoni
August 13, 2019<August 13, 2019 Today’s Song: Blending the Old and New with Esmé’s “Ella” by Ben Beamish
August 12, 2019<January 12, 2023 Black Pumas’ Eponymous Debut Album Is a Sonic Box of Chocolates by Ilana Kalish
August 12, 2019<August 12, 2019 Today’s Song: “Half Love” Proves Red Hearse Is a Match Made in Supergroup Heaven by Meredith Nardino
August 9, 2019<August 9, 2019 Atwood Magazine’s Weekly Roundup: August 9, 2019 by Atwood Magazine Staff
August 9, 2019<August 9, 2019 Feature: Penny and Sparrow Explore Evolution in Masterpiece Sixth Album ‘Finch’ by Kelly McCafferty Dorogy
August 9, 2019<August 9, 2019 Premiere: Jack Klatt’s “Ramblin’ Kind” is an Americana Poem of Redemption by Mitch Mosk
August 9, 2019<September 19, 2019 Pop Storytelling & Quirky Fun: An Interview with Josie Dunne by Mitch Mosk
August 9, 2019<August 9, 2019 Review: Punk Goes Personal on Julia Shapiro’s Debut ‘Perfect Version’ by Christine Costello
August 9, 2019<August 8, 2019 Today’s Song: Solar-Powered Band Trapdoor Social’s “The Lie” Is Not Another Sugarcoated Love Song by Alicia Bugallo
For the Love of Music
For the Love of Music
