9.1 May 1, 2023<May 1, 2023 Our Take: The National Fight Through the Darkness to Deliver Stunning ‘First Two Pages of Frankenstein’ by Beau Hayhoe
April 29, 2023<April 30, 2023 EP Review: Indie Rock Outlaws Hippo Campus Return with ‘Wasteland’ by Nasim Elyasi
7.1 April 26, 2023<April 30, 2023 Our Take: Jimin Sheds His Skin with ‘FACE,’ His First Solo Project Outside of BTS by Julia Dzurillay
April 24, 2023<April 30, 2023 Meet Morat, a Colombian Band Looking to “Salir Con Vida” into the Spotlight by Josh Weiner
April 24, 2023<April 30, 2023 Passionate About “Passionfruit”: Drake’s Unflappable, Shape-Shifting Spring Song by Julia Dzurillay
April 21, 2023<April 30, 2023 “But At Least We Had Music”: A Conversation with Rodrigo y Gabriela by Adrian Vargas
April 19, 2023<April 30, 2023 Pop/Rock Duo joan Repair Shattered Emotions with Debut Album ‘superglue’ by Julius Robinson
April 19, 2023<April 30, 2023 Bad Bunny Returns to His Gulf Gas Station Roots at Coachella ’23 by Julia Dzurillay
April 14, 2023<April 30, 2023 ‘High & Low’ and Everything In-Between: Caitlyn Smith Journeys Through Darkness & Light on Self-Produced Third Album by Emily Frances Algar
April 11, 2023<June 29, 2024 Roundtable Discussion: A Review of Lana Del Rey’s ‘Did you know that there’s a tunnel under Ocean Blvd’ by Atwood Magazine Staff
April 10, 2023<April 30, 2023 Album Review: Shimmering Epiphanies in Depeche Mode’s ‘Memento Mori’ by David Buyze
April 5, 2023<April 30, 2023 Are We Good? Canadian Folk Icon Hayden Desser Asks a Difficult Question on His First LP in 8 Years by Kevin Krein
March 31, 2023<June 29, 2024 Roundtable Discussion: A Review of boygenius’ ‘the record’ by Atwood Magazine Staff
March 29, 2023<April 30, 2023 Lightning in a Bottle: Gracie Abrams, Live from Austin by Kelly McCafferty Dorogy
For the Love of Music
For the Love of Music
