9.1 July 12, 2019<December 15, 2020 Our Take: Flying Lotus’ Sprawling ‘Flamagra’ Embodies His Prolificacy and Variety by Danny Vagnoni
July 12, 2019<July 11, 2019 Review: Matthew Frederick’s “Tell Me” Truly Wants to Know by Ilana Kalish
July 12, 2019<July 11, 2019 This Just In: Matt Corby and Tash Sultana “Talk It Out” in Effervescent New Single by Kelly McCafferty Dorogy
July 11, 2019<June 19, 2024 Tyler, the Creator Aims for Disgust, Contempt, and Empathy All at Once on ‘IGOR’ by Atwood Magazine Staff
July 10, 2019<July 10, 2019 Emily Blue Embraces Imperfection in Fun, Frisky “Bad Decisions” by Mitch Mosk
8.2 July 9, 2019<December 15, 2020 Our Take: “Let’s Rock” Is a Comeback to Admire for Long-Dormant The Black Keys by Josh Weiner
July 5, 2019<July 5, 2019 Memory, Pain, and Healing: Black Grapefruit Dive into Their Exquisite ‘Fade/Forget’ EP by Mitch Mosk
July 3, 2019<June 29, 2024 Roundtable Discussion: A Review of Vampire Weekend’s ‘Father of the Bride’ by Atwood Magazine Staff
8.6 July 3, 2019<December 15, 2020 Our Take: Mannequin Pussy’s ‘Patience’ Is the Shape of Punk to Come by Danny Vagnoni
July 2, 2019<July 2, 2019 Live Review: Wallows Took Their Hometown Los Angeles by Storm at The Fonda by Caitlin Ison
July 2, 2019<December 15, 2020 Review: WKND FRNDS is The F16s’ Heady Soundtrack for the Summer by Urooj Ali Rizvi
July 1, 2019<August 16, 2022 On the Nature of Change: How Plastic Picnic’s “After You” Offers a Personal Journey Unlike Any Other by Adrian Vargas
June 28, 2019<August 20, 2019 The Restless Allure of Gabriel Black & phem’s Beautiful “dead yet” by Mitch Mosk
June 28, 2019<June 28, 2019 Live Review: BENEE Confirms She Belongs on Stage at New York’s Mercury Lounge by Kelsey Fitzgerald
For the Love of Music
For the Love of Music
