January 17, 2018<January 17, 2018 EP Review: Noah Kahan’s ‘Hurt Somebody’ Triumphs with Heartache & Doubt by Mitch Mosk
January 17, 2018<January 17, 2018 Camila Cabello’s Raw, Vulnerable & Provocative Debut ‘Camila’: A Track-by-Track Review by Kevin Young
January 16, 2018<January 16, 2018 LIVE: “Scandinavian Enthusiasm” & More — Sløtface at The Echo, LA by Lindsay Call
January 16, 2018<January 16, 2018 Review: Jeff Rosenstock Returns to Straightforward Punk Roots on POST- by James Crowley
January 12, 2018<January 12, 2018 LIVE: Jeff Rosenstock Brings the Dread and Love of Worry to Brooklyn by James Crowley
January 12, 2018<January 12, 2018 Our Take: Dissecting MØ’s Heart-Tugging EP ‘When I Was Young’ by Ethan Germann
January 11, 2018<January 11, 2018 Our Take: ‘Tape #1′ is Some of Hoops’ Most Fuzzy, Lovely Lo-Fi by Sydney Sweeney
January 8, 2018<January 8, 2018 Our Take: Eminem’s ‘Revival’ Is Low on Highlights, High on Dubious Decisions by Josh Weiner
January 5, 2018<February 20, 2018 Our Take: BROCKHAMPTON’s ‘Saturation III’ Refines Their All-Caps Ethos of DIY Creativity by James Meadows
January 4, 2018<January 4, 2018 Our Take: Francis and the Lights Ushers in the New Year with Something ‘Just for Us’ by Sara Santora
December 29, 2017<January 25, 2018 Atwood Magazine’s 2017 Albums of the Year by Atwood Magazine Staff
9 December 20, 2017<April 17, 2023 Music You Should Know: TENDER Explore Peace and Discord Through ‘Modern Addiction’ by Maggie McHale
December 15, 2017<December 15, 2017 This Just In: CAPPA Flexes Her Confidence & Charisma in “Waste My Time” by Mitch Mosk
December 15, 2017<December 15, 2017 This Just In: PHANGS Can’t Take His “Eyes Off You” by Maggie McHale
For the Love of Music
For the Love of Music
