March 13, 2025<March 13, 2025 “What a day for a daydream”: Arcy Drive’s Sun-Soaked Folk Rock Reverie, “Oak Tree (Daydream)” by Mitch Mosk
March 12, 2025<March 12, 2025 “I bleed so you’re winning”: emmersonHALL’s “Air” Is a Heavy, Cathartic, and Aching Exhale by Mitch Mosk
March 12, 2025<March 12, 2025 “The Crime of Being a Woman”: An Essay by Taylor Bickett for Women’s History Month by Guest Writer
March 12, 2025<March 12, 2025 Interview: Clara Mann Finds Hope in the Spaces Between on Shimmering Debut Album ‘Rift’ by Rachel Leong
March 12, 2025<March 12, 2025 “I’ve been waiting for this day for a long time”: Masayoshi Takanaka Plays First U.S. Show in 40 Years by Max Kalnitz
March 12, 2025<March 12, 2025 Interview: Post Sex Nachos Are Having More Fun Than You by Annaliese Baker
March 11, 2025<March 12, 2025 Atwood Magazine’s Weekly Roundup: March 11, 2025 by Atwood Magazine Staff
March 11, 2025<March 11, 2025 “Not Your Mother’s Women’s History Month”: An Essay by Madame Reaper by Guest Writer
March 11, 2025<March 11, 2025 Today’s Song: Addison Rae Explores Luxury & Excess With “High Fashion” by Marc Maleri
March 10, 2025<March 10, 2025 Today’s Song: Benson Boone Moves on With Melody in “Sorry I’m Here for Someone Else” by Danielle Holian
March 7, 2025<March 7, 2025 Track-by-Track: Arny Margret’s Intimate, Expansive, & Achingly Vulnerable Sophomore Album, ‘I Miss You, I Do’ by Mitch Mosk
March 7, 2025<March 7, 2025 Editor’s Picks 113: Soot Sprite, Black Country, New Road, Spacey Jane, Joan & the Giants, The Ting Tings, & Brandon! by Mitch Mosk
March 7, 2025<March 7, 2025 Interview: Caylee Hammack Tends to Her Heart on ‘Bed of Roses’ by Emily Frances Algar
March 7, 2025<March 7, 2025 Premiere: Kristiane Reckons with Restlessness, Reinvention, & Release in Her Cathartic Anthem, “Good & Ready” by Mitch Mosk
March 7, 2025<March 9, 2025 Review: Nicotine Dolls Offer an Unabashed Attempt at Being Romantic on Their Debut LP by Aileen Goos
For the Love of Music
For the Love of Music
