January 15, 2019<January 24, 2019 The Killers’ Impassioned “Land of the Free,” an American Protest by Mitch Mosk
January 14, 2019<January 14, 2019 Premiere: Living Right with Matt Koelsch & Georgia Feroce’s Inspiring “All My Friends” by Mitch Mosk
January 14, 2019<January 14, 2019 Premiere: Andy Frasco & The U.N. Shine in Tender “Can’t Force Love” by Mitch Mosk
January 14, 2019<January 14, 2019 Video Premiere: Cathedrals’ “Just a Game” Presents a Grim Fairytale of Anguished Love by Adrian Vargas
January 11, 2019<January 24, 2019 Atwood Magazine’s Weekly Roundup: January 11, 2019 by Atwood Magazine Staff
January 11, 2019<January 17, 2019 EP Review: Lauren Reiner’s ‘Little Rain’ Channels Julien Baker & Taylor Swift by James Crowley
January 11, 2019<January 28, 2019 Here’s to a Good Life: Jerry Williams’ Raw & Intimate Song “David at the Bar” by Mitch Mosk
January 10, 2019<January 10, 2019 Today’s Song: Anguish and Affliction in Rhys Lewis’ “Could’ve Been” by Luke Pettican
January 10, 2019<January 10, 2019 Premiere: Just “Can’t Get Enough” of HighSchool Jacob! by Christine Costello
January 10, 2019<January 24, 2019 Premiere: Elation & Connection in Lostboycrow’s “Orange Juice” & “Stargazing with Patrick Bateman” by Mitch Mosk
January 10, 2019<January 10, 2019 Death Was a Naked Sword: A Conversation with Spirit Houses by James Crowley
9.4 January 9, 2019<August 5, 2021 Our Take: Earl Sweatshirt Bends Time and Space on ‘Some Rap Songs’ by Atwood Magazine Staff
January 9, 2019<January 9, 2019 Premiere: Alex Di Leo’s “Strange Open Land” Revels in Young Love’s Seduction by Mitch Mosk
For the Love of Music
For the Love of Music
