July 22, 2020<July 22, 2020 Review: Protomartyr Refine Their Old Sound with New Instruments on ‘Ultimate Success Today’ by Oliver Crook
July 21, 2020<July 21, 2020 Love & Heartbreak Coalesce in Sarah Barrios’ Pop-Perfect Debut ‘Letters I Never Sent’ EP by Mitch Mosk
July 20, 2020<July 20, 2020 Review: Blackness, Queerness, and Belonging on Dua Saleh’s ‘ROSETTA’ by Urooj Ali Rizvi
July 14, 2020<July 14, 2020 Review: ‘Heaven To A Tortured Mind’ Proves to Be Yves Tumor’s Magnum Opus by Ben Niesen
July 13, 2020<July 11, 2020 Review: Remi Wolf Is Whimsically Heartwarming in ‘I’m Allergic to Dogs!’ EP by Maggie McHale
July 10, 2020<July 10, 2020 Feature: Little Kid Dive into the Depths of Their Spellbinding ‘Transfiguration Highway’ by Mitch Mosk
July 10, 2020<July 10, 2020 Avenue Beat’s Lowkey “F2020” Is the ‘F*** You’ Anthem of the Year by Mitch Mosk
July 10, 2020<July 10, 2020 Review: Mister & ialive Unite for Brief Thoughts on the Mundane Throughout ‘Sounds of Pets’ by Ryan Feyre
July 10, 2020<December 15, 2020 Review: The Beths Tackle the Dark Side of Living Your Dream on ‘Jump Rope Gazers’ by Oliver Crook
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<June 29, 2024 Roundtable Discussion: A Review of Lady Gaga’s ‘Chromatica’ by Atwood Magazine Staff
For the Love of Music
For the Love of Music
