May 14, 2020<June 29, 2024 Roundtable Discussion: A Review of The Strokes’ ‘The New Abnormal’ by Atwood Magazine Staff
May 13, 2020<May 13, 2020 Review: Onsen’s Aching “Be There” Is a Song of Isolation & Longing by Mitch Mosk
May 12, 2020<May 12, 2020 Review: Full Colour Accept That “Times Change” in Anthemic New Single by Bethan Harper
May 11, 2020<May 11, 2020 EP Review: Roman Lewis Discusses Love, Heartbreak, and Growing Up on ‘My First Failed Fairytale’ by Nina Schaarschmidt
May 8, 2020<May 8, 2020 Interview: Multi-Talented New Zealand Producer Yuki Talks Debut Album ‘Be Free’ by Ryan Feyre
May 8, 2020<May 8, 2020 Review: Andrew Morphs Blues Rock with Classic Boom-Bap on ‘WOTW’ by Ryan Feyre
May 8, 2020<May 8, 2020 Music You Should Know: Chelsea Peretti’s ‘Foam and Flotsam’ Is Pure Comedic Gold by Lexi Lane
May 7, 2020<May 12, 2020 Feature: Oddnesse’s Unapologetic & Uncompromising Debut EP ‘Overindulgence’ by Mitch Mosk
May 7, 2020<May 7, 2020 This Just In: Tei Shi Dances Her Way Past Desire & Devotion in “Die 4 Ur Love” by Baylee Less
8.3 May 7, 2020<December 15, 2020 Our Take: Bomethius’ Ambitiously Crafted ‘inadiquit’ is More than Adequate by Anthony Kozlowski
May 7, 2020<May 7, 2020 Feature: Deau Eyes’ Dazzling Debut ‘Let It Leave’ Is Honest & Raw Indie Rock Passion by Mitch Mosk
May 6, 2020<May 6, 2020 This Just In: Cold War Kids and The Lumineers Join Forces to Inspire & Empower on “1 x 1” by Mitch Mosk
May 5, 2020<May 5, 2020 Feature: Eliza Edens’ Debut ‘Time Away From Time’ Is an Intimate Alt-Folk Oasis by Mitch Mosk
May 5, 2020<June 29, 2024 Roundtable Discussion: A Review of Fiona Apple’s ‘Fetch the Bolt Cutters’ by Atwood Magazine Staff
For the Love of Music
For the Love of Music
