September 27, 2018<October 9, 2018 Review: Transviolet’s ‘Valley’ EP Dances Us to Real Life Resilience by Ilana Kalish
September 27, 2018<September 27, 2018 Premiere: Origami Crane Bring Summer Passion to Fall Intimacy on “Like a Flame” by James Crowley
September 26, 2018<February 20, 2019 Premiere: Freedom Rings in Tadhg Daly’s Anthemic Debut “Too Late” by Mitch Mosk
9.1 September 26, 2018<October 4, 2023 Album Premiere: The Intimate Alternative Warmth of Hello June’s Dazzling Debut Album by Mitch Mosk
September 25, 2018<September 25, 2018 Premiere: Love, Truth, and Beauty Reign Supreme in Nora Keyes’ “Kingdom of the Sun” by Mitch Mosk
September 25, 2018<September 25, 2018 Dreaming in Another Dimension: A Conversation with Cosmic Strip by Lindsay Call
September 25, 2018<September 25, 2018 Premiere: Self-Worth & Belonging in Katherine Redlus’ Enchantingly Ethereal “Welcome Home” by Mitch Mosk
September 25, 2018<September 25, 2018 Today’s Song: LAOISE Stuns with her Empowering, Captivating “Again” by Luke Pettican
September 24, 2018<September 24, 2018 Today’s Song: FINNEAS Moves On and Burns the Evidence in “College” by Nicole Almeida
September 24, 2018<September 24, 2018 Premiere: Pony Creek’s Outlaw Fantasy “Pott County” by Mitch Mosk
September 21, 2018<October 10, 2018 Atwood Magazine’s Weekly Roundup: September 21, 2018 by Atwood Magazine Staff
September 21, 2018<September 21, 2018 EP Review: Aya Safiya’s Sweetly Enchanting and Assertive Debut by Mitch Mosk
September 21, 2018<September 21, 2018 Premiere: The Fierce, Indulgent Energy of Broken Baby’s “It’s My Show!” Video by Mitch Mosk
September 21, 2018<October 10, 2018 Feature: Transviolet’s Journey of Liberation and Resilience by Atwood Magazine Staff
September 21, 2018<November 7, 2018 Sunshine in the Mind: An Interview with Jagwar Twin by Mitch Mosk
For the Love of Music
For the Love of Music
