December 19, 2019<June 29, 2024 Roundtable Discussion: A Review of Harry Styles’ ‘Fine Line’ by Atwood Magazine Staff
December 19, 2019<December 19, 2019 Today’s Song: Incantations of Modern Dread on Destroyer’s Newest Single “It Just Doesn’t Happen” by Adrian Vargas
December 18, 2019<December 18, 2019 Review: Nina Kraviz’s ‘MASSEDUCTION Rewired’ Is a Splintered, Over-Saturated Translation by Guest Writer
December 13, 2019<December 13, 2019 This Just In: Halsey Displays Duality in New Songs “Finally // beautiful stranger” and “SUGA’s Interlude” by Lexi Lane
December 12, 2019<December 12, 2019 Interview: aVIE Provides a Unique Flair to Hip-Hop Inspired Samples with New EP ‘The Escapade’ by Adrian Vargas
December 12, 2019<December 12, 2019 This Just In: talker Shatters Her Anxiety by “Learning the Feeling” by Anthony Kozlowski
December 11, 2019<December 11, 2019 Review: Bear’s Den Evoke Winter’s Warmth in ‘Only Son of the Falling Snow’ EP by Mitch Mosk
December 11, 2019<December 10, 2019 Live Review: A Night of Perfect Pop with Fickle Friends at The Joiners, Southampton by Bethan Harper
December 9, 2019<December 9, 2019 Artist to Watch: Naaz Dazzles with Emotional Poignancy at London’s Camden Assembly by Luke Pettican
December 6, 2019<January 2, 2020 Reflection, Introspection, & Irony: The Secular Liturgy of Lucy Dacus’ ‘2019’ EP by Guest Writer
December 4, 2019<December 4, 2019 Northern England’s Rock Scene Proudly Repp’ed by Cellar Door Moon Crow by Josh Weiner
December 2, 2019<December 2, 2019 Review: “Kiss Like the Sun” Sees Jake Bugg Back at His Best by Luke Pettican
November 29, 2019<November 29, 2019 Review: ‘Come On Up to the House: Women Sing Waits’ Is a True Gift to Us All by Ilana Kalish
For the Love of Music
For the Love of Music
