February 6, 2025<February 6, 2025 Live Review: Making a Hot Fuss in Las Vegas With The Killers by Emma Schoors
February 6, 2025<February 6, 2025 Loud, Vulnerable, & Raw: Mary Eliza Weaves Quiet Strength into a Sonic Reckoning on Debut Album ‘Spider’ by Mitch Mosk
February 6, 2025<February 6, 2025 Premiere: Echos Breaks Herself Open on “QUIET, IN YOUR SERVICE,” an Alt-Rock Anthem of Upheaval & Empowerment by Mitch Mosk
February 6, 2025<February 6, 2025 Today’s Song: Djo’s “Basic Being Basic” Tackles the Superficial With Psychedelic Flare by Mariam Bagdady
February 5, 2025<February 5, 2025 Atwood Magazine’s Weekly Roundup: February 5, 2025 by Atwood Magazine Staff
February 5, 2025<February 5, 2025 Today’s Song: Glare Catch the Love Bug in Surreal New Track “Guts” by Kaiana Lee
February 4, 2025<February 4, 2025 Interview: Cecilia Castleman Captures the Essence of Youth in Self-Titled Debut LP by Noa Jamir
February 4, 2025<February 4, 2025 Today’s Song: Lady Gaga Makes a Spellbinding Return to Dark Pop With “Abracadabra” by Danielle Holian
February 3, 2025<February 3, 2025 Seeing It All: Getting Behind the Lens With NYC Photographer Spencer “Bodega” Katz by Ciaran Short
February 3, 2025<February 3, 2025 Today’s Song: Perfume Genius’ “It’s a Mirror” Offers a Radical & Soul-Stirring Preview of Seventh Album, ‘Glory’ by Bárbara Martínez Campuzano
January 31, 2025<January 31, 2025 Growth, Grief, & Gratitude: Angie McMahon Reflects on Her Intimate Journey from Darkness to ‘Light Sides’ by Mitch Mosk
January 31, 2025<January 31, 2025 Identity, Instinct, and ‘The Human Fear’: A Conversation With Franz Ferdinand by Nasim Elyasi
January 31, 2025<January 31, 2025 “Like Venus from a shell”: “Orlando in Love” Is Japanese Breakfast’s Dreamy, Seductive Siren Song by Marc Maleri
For the Love of Music
For the Love of Music
