September 8, 2023<September 11, 2023 Atwood Magazine’s Weekly Roundup: September 8, 2023 by Atwood Magazine Staff
September 8, 2023<September 8, 2023 Feature: Boyish Turn Teenage Trauma into Soul-Stirring Sound on ‘Little Demon Boy’ by Mitch Mosk
September 8, 2023<September 8, 2023 THWACK! PRONOUN Takes the Hits in “SLAP ME IN THE FACE,” Reckoning with a Big, Ugly World by Mitch Mosk
September 8, 2023<September 8, 2023 2023 Hinterland Music Festival: A Hidden Gem in the Midwest Festival Scene by Nick Polak
September 7, 2023<September 7, 2023 Track-by-Track: Bobby Bazini Breaks Down ‘Pearl,’ His Cinematic, Cathartic, & Soul-Stirring Fifth LP by Mitch Mosk
September 7, 2023<September 7, 2023 Today’s Song: The Beauty & the Aching of Barbaro’s Evergreen “Gardens” by Mitch Mosk
September 7, 2023<September 7, 2023 Premiere: maeve & quinn Explore Dynamic Friendship & Selfhood in Debut Album ‘Another Door’ by Nic Nichols
September 6, 2023<September 8, 2023 “Truth in Costume”: Anna Rose Is Unleashed & Empowered on ‘Last Girl of the Rodeo,’ Her Tragic, Soul-Stirring Reckoning by Mitch Mosk
September 6, 2023<September 14, 2023 ‘Love & Light’: Tom Speight Goes Track-by-Track Through His Breathtakingly Beautiful Third Album by Mitch Mosk
September 6, 2023<September 6, 2023 Interview: The Sometimes Island Inject Sunshine into Our Lives With “Neon Summer” by Joe Beer
September 6, 2023<September 6, 2023 “A lighthouse out in the storm”: The Brook & The Bluff Dive “Headfirst” into a New Era As ‘Bluebeard’ Approaches by Mitch Mosk
September 5, 2023<September 6, 2023 Today’s Song: BTS’ V Shows Us a New Side with “Rainy Days” by Jada Moore
September 5, 2023<September 5, 2023 Premiere: John Raymond & S. Carey Rise Up From the Shadowlands to Coalesce in “Chrysalis” by Mitch Mosk
September 5, 2023<December 8, 2023 SM Entertainment & RCA Records Debut Boy Group RIIZE With “Get a Guitar” by Freya Rinaldi
6.7 September 5, 2023<September 5, 2023 Our Take: London’s EASYFUN Shocks and Energizes With New ‘ELECTRIC EP’ by Julia Dzurillay