April 5, 2019<April 30, 2019 Atwood Magazine’s Weekly Roundup: April 5, 2019 by Atwood Magazine Staff
April 5, 2019<April 5, 2019 Interview: Don’t Bank on the Funeral, Bank on Matt Maeson by Audrey Steeves
April 5, 2019<April 5, 2019 Premiere: Megan Nash’s “Deer Head” Is a Raw, Aching Anthem for the Heavy-Hearted by Mitch Mosk
April 5, 2019<April 5, 2019 The Long-Awaited Return of Foals: A Band Who Only Get Better with Age by Hermione Kellow
April 5, 2019<April 5, 2019 Perceive Youth & Adolescent Predilections Differently with girl in red’s “Say Anything” by Jesse Herb
April 4, 2019<April 4, 2019 Track-by-Track: The Intimate Seduction of CLAVVS’ ‘No Saviors’ EP by Mitch Mosk
April 4, 2019<April 4, 2019 Premiere: Dream Pop Duo The Away Days Return with Poignant & Soaring “Designed” by Mitch Mosk
April 4, 2019<April 4, 2019 Track-by-Track: Sego Crush Expectations with Sophomore LP ‘Sego Sucks’ by Coco Rich
April 4, 2019<April 4, 2019 EP Review: Take It Easy with Patrick Ames’ ‘All I Do Is Bleed’ by Carolyn Fasone
April 4, 2019<April 4, 2019 Catfish and the Bottlemen’s “Tyrants” Will Always Be the Perfect Closing Song by Monica Mellon
April 4, 2019<April 4, 2019 Coated in Sugar: A Conversation with Mike Mains & The Branches by James Crowley
April 4, 2019<April 4, 2019 Premiere: Ladysse Portrays the Lesser-Known Side of Fame in “Heartbreak Hollywood” by Alicia Bugallo
April 4, 2019<April 4, 2019 Premiere: Aisha Badru’s “Enough” Encourages Strength During Moments of Sadness by Frankie Rose
April 3, 2019<April 3, 2019 Premiere: Anima & Ennui Embrace Life in Haunting Debut “Nothing Better” by Mitch Mosk
For the Love of Music
For the Love of Music
