September 19, 2023<September 19, 2023 Artist to Watch: VARLEY Spiral Out in “Hate Myself (So Much Sometimes),” a Seductive Anthem of Inner Reckoning by Mitch Mosk
September 19, 2023<September 30, 2023 Interview: The Brook & The Bluff Chase Melancholic Joy on ‘Bluebeard,’ a Soulful, Swashbuckling Triumph by Mitch Mosk
September 19, 2023<September 19, 2023 Sydney Sprague Navigates Interpersonal Connections & the Anxieties of the Human Condition on ‘somebody in hell loves you’ by Kevin Krein
September 18, 2023<September 19, 2023 “A technicolor hug”: Phosphene ‘Transmute’ Pain into Human Connection on Kaleidoscopic Third LP by Mitch Mosk
6 September 18, 2023<September 20, 2023 Our Take: Kim Petras’ ‘Problématique’ Is a Self-Aware Fan Favorite Finally Released by Julia Dzurillay
September 18, 2023<September 18, 2023 “Now I know to just go with the flow”: Frankie Bird Finds Herself Anew in “Float,” a Song of Renewal, Surrender, & Self-Love by Mitch Mosk
September 18, 2023<September 18, 2023 Today’s Song: Mitski’s “Star b/w Heaven” Is a Symphonic Double Feature by Sofia Sar
September 16, 2023<September 20, 2023 Today’s Song: King Princess’ “Let Us Die” Is a Love Song About Letting Go by Eric Schuster
September 15, 2023<September 16, 2023 Atwood Magazine’s Weekly Roundup: September 15, 2023 by Atwood Magazine Staff
September 15, 2023<September 15, 2023 Track-by-Track: Austin’s Briscoe Debut ‘West of It All’ With Warm Folk Rock Wonder & Spirited Passion by Mitch Mosk
September 15, 2023<September 15, 2023 Today’s Song: Opening a Time Capsule for Love in Anabella Paige’s “This I Miss” by Lauren Hicks
September 15, 2023<September 19, 2023 “Sad Girly Triumph”: The Beaches Go Track-By-Track Through ‘Blame My Ex,’ Their Anthemic & Aching Sophomore LP by Mitch Mosk
September 14, 2023<September 14, 2023 Feature: Sofía Valdés Dives into ‘Silvia,’ Her Intimate, Vulnerable, & Soul-Stirring Seduction by Mitch Mosk
September 14, 2023<September 14, 2023 Interview: K.Flay Reflects on Her Triumphant New Album, ‘MONO’ by Michael Greco