February 27, 2019<February 27, 2019 Premiere: The Desert Find Strength in Sadness with “Bitterness” by Luke Pettican
February 27, 2019<February 27, 2019 Premiere: The Stirring Nostalgia of Travis Hayes’ Rich “Empty Orchestra” by Mitch Mosk
February 27, 2019<February 27, 2019 Creative Democracy: A Conversation with Tiny Hueman by Danny Vagnoni
February 27, 2019<February 26, 2019 Today’s Song: Meadowlark Embark on an Introspective Journey with “H.I.T.H.” by Alicia Bugallo
February 26, 2019<July 19, 2021 Emotionally Intelligent Songs: A Conversation with Patty Walters of As It Is by James Crowley
February 26, 2019<February 26, 2019 Video Premiere: Paper Jackets Set Off in Impassioned Anthem “Trigger” by Mitch Mosk
February 26, 2019<February 26, 2019 Premiere: Satisfy Yourself with Lost Leaders’ Catchy Critique, “People Like Us” by Mitch Mosk
February 26, 2019<February 26, 2019 Premiere: Gold Connections’ “Locust Days” Is a Pace Through the Whirlwind of Life by Frankie Rose
February 26, 2019<February 26, 2019 Review: Melody’s Echo Chamber’s ‘Bon Voyage’, a Psychedelic Journey of Human Struggle & Self Reflection by Hermione Kellow
February 25, 2019<February 25, 2019 Premiere: Good Air’s Hazy, Intimate “Nap League” Embraces the Beauty in Simplicity by Mitch Mosk
February 25, 2019<February 25, 2019 Review: J.S. Ondara Understands America Way Better Than We Do on Debut ‘Tales of America’ by Oliver Crook
February 25, 2019<August 1, 2023 Today’s Song: Broken Social Scene Are Enchantingly Chaotic with Lovelorn Jam “Boyfriends” by Abby Jones
February 22, 2019<June 29, 2024 Roundtable Discussion: A Review of Ariana Grande’s ‘thank u, next’ by Atwood Magazine Staff
February 22, 2019<March 1, 2019 Atwood Magazine’s Weekly Roundup: February 22, 2019 by Atwood Magazine Staff
For the Love of Music
For the Love of Music
