September 5, 2023<September 5, 2023 Interview: The Dionysus Effect Discuss Their Name, the New York Music Scene, Eve 6, & Nietzsche by Julius Robinson
September 3, 2023<November 24, 2023 Today’s Song: The Beauty of the Mundane in Rosie H Sullivan’s “Chapters” by Lauren Hicks
September 2, 2023<September 2, 2023 Today’s Song: Billy Woods Is Alone in the Company of Others on “FaceTime” with Kenny Segal & Samuel T. Herring by Adam Davidson
September 1, 2023<September 1, 2023 Atwood Magazine’s Weekly Roundup: September 1, 2023 by Atwood Magazine Staff
September 1, 2023<September 1, 2023 Family, Ibiza, and a New Musical Chapter: A Conversation With Grammy-Nominated Artist Elderbrook by Nick Polak
September 1, 2023<September 1, 2023 Interview: Briston Maroney on Life’s “Ultrapure” Moments by Nasim Elyasi
August 31, 2023<August 31, 2023 “A vision equally glamorous and dirty”: The Tender Turmoil of deary’s “Beauty in All Blue Satin” by Mitch Mosk
August 31, 2023<August 31, 2023 “Loving Oneself Under Patriarchy Is a Revolutionary Act”: Paris Paloma’s “as good a reason” Is a Liberated, Empowering Feminist Anthem by Mitch Mosk
August 31, 2023<September 5, 2023 Podcast: Tunes & Tumblers’ August Roundtable, ft. Hozier and K-Pop and Fyre Fest 2, Oh My! by Atwood Magazine Staff
August 30, 2023<August 30, 2023 Keep Your ‘Eye on the Bat’: An Interview with Palehound’s El Kempner by Nasim Elyasi
August 30, 2023<August 30, 2023 “Eclectic, Spontaneous, and Still a Bit Neurotic”: Inside Curling’s Labor of Love, ‘No Guitar’ by Mitch Mosk
August 30, 2023<August 30, 2023 Singer/Songwriter Hannah Georgas Searches for Her Sense of Self on the Dense & Intricate ‘I’d Be Lying If I Said I Didn’t Care’ by Kevin Krein
For the Love of Music
For the Love of Music
