November 17, 2017<November 17, 2017 Premiere: Keilan Creech Debuts Haunting ‘Honey Waits’ with Indie Folk Perfection by Mitch Mosk
November 17, 2017<November 17, 2017 Premiere: Monikers’ Frigid and Fiery “Glacial Pace” by Mitch Mosk
November 17, 2017<December 11, 2017 Atwood Magazine’s Weekly Roundup: November 17, 2017 by Atwood Magazine Staff
November 17, 2017<November 17, 2017 Video Premiere: High-Energy Swells on Street Joy’s Lax “Do A Thing” by Kendall Graham
November 17, 2017<June 29, 2024 Roundtable Discussion: A Review of Taylor Swift’s ‘Reputation’ by Atwood Magazine Staff
November 17, 2017<November 16, 2017 EP Premiere: Ekurtis’ ‘Part II’ Reaches Bittersweet Resolve by Mitch Mosk
November 16, 2017<November 16, 2017 Premiere: LIEZA’s Intimate & Empowering Anthem “Don’t Make Me Dance” by Mitch Mosk
November 16, 2017<November 16, 2017 Album Premiere: Broke Royals Break the Mold with Multi-Layered Debut by Sara Santora
November 16, 2017<November 16, 2017 Premiere: Harlee’s “Venom” Burns with Pop-Filled Betrayal by Kelly McCafferty Dorogy
November 16, 2017<November 16, 2017 Premiere: Gayle Skidmore’s “Pale Ghosts” World Fully Encompasses You by James Crowley
November 16, 2017<November 22, 2017 Nostalgia Tracks: Mariah Carey Teaches Us “Bye Bye”s Aren’t Forever by Kevin Young
November 15, 2017<November 15, 2017 Live: Flying Lotus’ Mind-Bending 3D Show at Brooklyn Steel by Carmen Chan
November 15, 2017<November 15, 2017 Premiere: The Anxious Intensity of Antagonista’s “Speedy Anejo” by Mitch Mosk
November 15, 2017<December 11, 2017 Our Take: The Dreamy Depths of Tennis’ Magical ‘We Can Die Happy’ EP by Mitch Mosk
For the Love of Music
For the Love of Music
