February 12, 2024<February 11, 2024 “I won’t be alone for the rest of my life”: Noah Kahan’s Intimate & Epic “Forever” Is a Beautiful Coda to ‘Stick Season’ by Mitch Mosk
February 11, 2024<February 11, 2024 “Yes I want to be desired”: Luminescent Confessions in M Field’s Sunny “Another Moon” by Kate Millar
February 10, 2024<February 9, 2024 Today’s Song: Dhani Harrison Takes a Mystical Celtic Stroll on “I.C.U” by Aidan Moyer
February 9, 2024<February 9, 2024 Atwood Magazine’s Weekly Roundup: February 9, 2024 by Atwood Magazine Staff
February 9, 2024<February 9, 2024 “Excess with no restraint”: Sabrina Song Embraces Vulnerability in “Okay, Okay,” an Impassioned Vow of Love by Mitch Mosk
February 9, 2024<February 9, 2024 Madi Diaz Looks Both Within & to Others in the Effort to Find ‘Weird Faith’ by Kevin Krein
February 9, 2024<February 9, 2024 “I’m living for me now”: Katelyn Tarver on New Album ‘Quitter,’ Unlearning, & Asking the Big Questions by Kelly McCafferty Dorogy
February 8, 2024<February 8, 2024 Today’s Song: Middle Kids Explode Through the Negativity with “Terrible News” by Frankie Rose
February 8, 2024<February 8, 2024 “Nothing is permanent”: Inside Lily Seabird’s Dark, Dynamic, & Hopeful LP ‘Alas,’ a Record of Grief & Letting Go by Mitch Mosk
February 8, 2024<February 8, 2024 Interview: Ashley Kutcher’s Debut Album ‘House on the Water’ Is a Formidable Cross-Genre Effort by Noah Wade
February 8, 2024<February 8, 2024 Premiere: Deafening and Silent, lotusbliss Blast Off With a Fiery Passion on “Tear Me Apart” by Mitch Mosk
February 8, 2024<February 8, 2024 Concert Premiere: Hayley Reardon Is Intimate, Up-Close & Personal on ‘Live at Starseed Studios’ by Mitch Mosk
February 8, 2024<February 8, 2024 Premiere: Madeline Rhodes’ Debut Single “Bailing on Your Birthday” Invites Listeners to Cancel Their Party Plans & Focus on Mental Health Instead by Olivia Martinez
February 7, 2024<February 7, 2024 “Oh my God, take me back the way that I was”: Suki Waterhouse’s Riveting, Cinematic Anthem “OMG” Yearns for What Once Was by Lauren Turner
February 7, 2024<February 7, 2024 Track-by-Track: Brown Horse’s ‘Reservoir’ Is a Haunting, Intimate Alt-Country Reverie by Mitch Mosk
For the Love of Music
For the Love of Music
