March 12, 2025<March 12, 2025 Interview: Clara Mann Finds Hope in the Spaces Between on Shimmering Debut Album ‘Rift’ by Rachel Leong
March 12, 2025<March 12, 2025 “I’ve been waiting for this day for a long time”: Masayoshi Takanaka Plays First U.S. Show in 40 Years by Max Kalnitz
March 12, 2025<March 12, 2025 Interview: Post Sex Nachos Are Having More Fun Than You by Annaliese Baker
March 11, 2025<March 12, 2025 Atwood Magazine’s Weekly Roundup: March 11, 2025 by Atwood Magazine Staff
March 11, 2025<March 11, 2025 “Not Your Mother’s Women’s History Month”: An Essay by Madame Reaper by Guest Writer
March 11, 2025<March 11, 2025 Today’s Song: Addison Rae Explores Luxury & Excess With “High Fashion” by Marc Maleri
March 10, 2025<March 10, 2025 Today’s Song: Benson Boone Moves on With Melody in “Sorry I’m Here for Someone Else” by Danielle Holian
March 7, 2025<March 7, 2025 Track-by-Track: Arny Margret’s Intimate, Expansive, & Achingly Vulnerable Sophomore Album, ‘I Miss You, I Do’ by Mitch Mosk
March 7, 2025<March 7, 2025 Editor’s Picks 113: Soot Sprite, Black Country, New Road, Spacey Jane, Joan & the Giants, The Ting Tings, & Brandon! by Mitch Mosk
March 7, 2025<March 7, 2025 Interview: Caylee Hammack Tends to Her Heart on ‘Bed of Roses’ by Emily Frances Algar
March 7, 2025<March 7, 2025 Premiere: Kristiane Reckons with Restlessness, Reinvention, & Release in Her Cathartic Anthem, “Good & Ready” by Mitch Mosk
March 7, 2025<March 9, 2025 Review: Nicotine Dolls Offer an Unabashed Attempt at Being Romantic on Their Debut LP by Aileen Goos
March 7, 2025<March 7, 2025 Today’s Song: NAVY’s “No Man’s Land” Is a Gritty and Honest Exploration of Internal Chaos by Brianna Corrine
March 6, 2025<March 6, 2025 Premiere: Sam Himself’s “Backstreets” Turns Homesickness into a Lush Anthem of Longing & Liberation by Mitch Mosk
March 6, 2025<March 6, 2025 Feature: Holly Lovell Channels Grief into Beauty on ‘Hello Chelsea,’ a Record of Addiction, Loss, & Healing by Mitch Mosk
For the Love of Music
For the Love of Music
