February 4, 2019<February 5, 2019 Today’s Song: Blaenavon’s “Catatonic Skinbag” Is a Self-Deprecative Triumph by Nicole Almeida
February 1, 2019<February 19, 2019 Atwood Magazine’s Weekly Roundup: February 02, 2019 by Atwood Magazine Staff
February 1, 2019<February 1, 2019 Review: The Stirring Vulnerability of Gabriella Rose’s Intimate Debut EP ‘Lost in Translation’ by Mitch Mosk
February 1, 2019<February 1, 2019 Premiere: Breaking the Cycle of Abuse with Sophia Danai’s “Daughter” by Mitch Mosk
February 1, 2019<February 1, 2019 Premiere: “The Ground,” Like Swimming’s Emotional Explanation of White Privilege by Mitch Mosk
February 1, 2019<February 1, 2019 Premiere: KOPPS and the Unattainable Presence from Our “Virtual Reality” by Caitlin Ison
February 1, 2019<February 1, 2019 Today’s Song: Sam Smith and Normani Find Temporary Solace “Dancing With A Stranger” by Maggie McHale
January 31, 2019<February 1, 2019 Finding Connection in Collaborations: A Conversation with filous by Nicole Almeida
January 31, 2019<June 29, 2024 Roundtable Discussion: A Review of Weezer’s Teal Album by Atwood Magazine Staff
January 31, 2019<January 31, 2019 Premiere: Introducing “The Wild & the Untamed” Folk Troubadour Ian George by Mitch Mosk
January 31, 2019<January 31, 2019 Our Take: Spielbergs’ ‘This Is Not The End’ Is the Album You’ve Been Waiting for Since You Grew Out Your Mohawk and Got a Job by Oliver Crook
January 31, 2019<January 31, 2019 Review: With Better Oblivion Community Center, Conor Oberst & Phoebe Bridgers Unite in Indie Folk Heaven by Abby Jones
January 31, 2019<January 31, 2019 Premiere: Heartbreak & Longing in Dancing on Tables’ Breakup Ballad “Black” by Mitch Mosk
January 31, 2019<February 6, 2019 Today’s Song: Betty Who Lends a Hand on “Friend Like Me” by Anthony Kozlowski
For the Love of Music
For the Love of Music
