February 13, 2019<February 13, 2019 Our Take: Joy and Sorrow in Beirut’s ‘Gallipoli’ by Danny Vagnoni
February 13, 2019<February 13, 2019 Review: Dearheart’s ‘Too Late; Doesn’t Matter’ Displays the Ambition of Emo’s Next Wave by James Crowley
February 12, 2019<February 12, 2019 Album Premiere: The Enchanting Depth of Lisa Papineau’s ‘Oh Dead On Oh Love’ by Mitch Mosk
February 8, 2019<February 8, 2019 Review: Jessica Pratt Expands Her World with the Hypnotic ‘Quiet Signs’ by Frankie Rose
February 8, 2019<February 8, 2019 Review: ‘The Dip Delivers’ Breaths Fresh Life into a Classic Soul Sound by Mitch Mosk
February 8, 2019<February 8, 2019 Our Take: Masculinity & Male Privilege Meet Tenderness in Henry Jamison’s Hopeful ‘Gloria Duplex’ by Audrey Steeves
February 6, 2019<February 5, 2019 This Just In: Oh God, There Is So Much Love in Kelso’s New Single by James Crowley
February 5, 2019<February 17, 2019 Our Take: Sharon Van Etten’s ‘Remind Me Tomorrow’ Is a Fearless Step into a Bold New Sound by Adrian Vargas
February 5, 2019<February 5, 2019 Album Premiere: Deidre & The Dark’s Debut ‘Variety Hour’ Is Free, Fun, and Classic by Mitch Mosk
February 1, 2019<February 1, 2019 Review: The Stirring Vulnerability of Gabriella Rose’s Intimate Debut EP ‘Lost in Translation’ by Mitch Mosk
February 1, 2019<February 1, 2019 Today’s Song: Sam Smith and Normani Find Temporary Solace “Dancing With A Stranger” by Maggie McHale
January 31, 2019<June 29, 2024 Roundtable Discussion: A Review of Weezer’s Teal Album by Atwood Magazine Staff
January 31, 2019<January 31, 2019 Our Take: Spielbergs’ ‘This Is Not The End’ Is the Album You’ve Been Waiting for Since You Grew Out Your Mohawk and Got a Job by Oliver Crook
January 31, 2019<January 31, 2019 Review: With Better Oblivion Community Center, Conor Oberst & Phoebe Bridgers Unite in Indie Folk Heaven by Abby Jones
For the Love of Music
For the Love of Music
