July 9, 2020<December 1, 2020 On Being Gone Forever: Phoebe Bridgers’ ‘Punisher’ as a Meditation on Death by James Crowley
July 9, 2020<July 9, 2020 Review: Clarence James’ Debut ‘Fucked Me Up’ Is DIY Heartbreak at Its Finest by Mitch Mosk
July 8, 2020<July 8, 2020 Review: ‘Nightwhisper’ Is a Solo Comeback to Admire for Veteran Electronica Star Jody Wisternoff by Josh Weiner
July 8, 2020<July 8, 2020 Track-by-Track: Hazlett Injects Life’s Depths into Stirring, Intimate ‘Thundering Hopes’ EP by Mitch Mosk
8.5 July 8, 2020<December 15, 2020 Our Take: HAIM Find Solace in LA & Each Other on ‘Women in Music Pt. III’ by Guest Writer
July 7, 2020<July 7, 2020 Roundtable Discussion: A Review of Lady Gaga’s ‘Chromatica’ by Atwood Magazine Staff
July 6, 2020<September 24, 2022 Review: The Fictional ’60s Nostalgia of Les Hay Babies’ ‘Boîte aux Lettres’ by Francesca Rose
9.3 July 3, 2020<December 15, 2020 Feature: AJIMAL & Guy Massey Breathe Life into Breathtaking Album ‘As It Grows Dark / Light’ by Mitch Mosk
July 3, 2020<July 3, 2020 Feature: London’s Maya Delilah Debuts with Sweet n’ Soulful EP ‘Oh Boy’ by Mitch Mosk
July 2, 2020<July 1, 2020 Review: Meadow Meadow’s “Bonzo” & “Fireworks” Make for a Spellbinding Introduction by Mitch Mosk
9.4 June 30, 2020<February 7, 2024 Feature: Denison Witmer’s Breathtaking ‘American Foursquare’ Is a Soundtrack to Life Lived by Mitch Mosk
June 30, 2020<June 30, 2020 Track-by-Track: Mini Trees Dives into Her Intimate, Sun-Kissed Sophomore EP ‘Slip Away’ by Mitch Mosk
June 30, 2020<June 30, 2020 Roundtable Discussion: A Review of Run the Jewels’ ‘RTJ4’ by Atwood Magazine Staff
June 29, 2020<June 29, 2020 Artist to Watch: Chicago Trio Dehd Dwell in Stirring Depths on New Songs “Loner” & “Flood” by Mitch Mosk
June 29, 2020<June 29, 2020 Track-by-Track: Leeds Trailblazers KOYO Leave Their Mark with Feverish Sophomore Album ‘You Said It’ by Mitch Mosk