June 27, 2017<June 27, 2017 Our Take: Beach Fossils Are Revitalized in ‘Somersault’ by Shayna Chabrow
June 23, 2017<June 23, 2017 Our Take: Healy’s ‘Subluxe’ Glows with Nostalgia and Introspection by Baylee Less
June 14, 2017<June 13, 2017 Our Take: Pokey LaFarge’s ‘Manic Revelations’ Is a True American Story by Ethan Germann
June 13, 2017<June 13, 2017 Our Take: Chastity Belt’s ‘I Used to Spend So Much Time Alone’ is a New Message with Less Noise by Sydney Sweeney
June 12, 2017<November 8, 2018 Our Take: ‘Everybody’ Is in for a Good Time on Logic’s Latest by Josh Weiner
June 7, 2017<June 29, 2017 Premiere: Psymon Spine’s Groundbreaking Debut ‘You Are Coming to My Birthday’ by Mitch Mosk
June 6, 2017<June 24, 2017 Album Premiere: The Hypnotic Summer Drive of Siberian Traps’ Indicator by Mitch Mosk
June 2, 2017<June 2, 2017 Our Take: Mount Eerie Transmit Devastation with ‘A Crow Looked at Me’ by Lucas Koprowski
8 June 1, 2017<August 30, 2021 Our Take: Kendrick Lamar’s Status as a Hip-Hop Legend is Getting DAMN. Strong by Josh Weiner
May 30, 2017<May 30, 2017 Our Take: Mabel’s ‘Bedroom’ EP is an Even-Paced Introduction to R&B’s Brightest Newcomer by Sydney Sweeney
May 26, 2017<May 26, 2017 James Vincent McMorrow’s True Care: A Track-by-Track Review by Atwood Magazine Staff
May 25, 2017<May 25, 2017 Our Take: (Sandy) Alex G Is Restless and Uninhibited in ‘Rocket’ by Shayna Chabrow
May 16, 2017<May 26, 2017 FEATURE: The Dark Pop and Deep Reflection of Rousseau’s Debut EP ‘hello, i know you’re busy’ by Mitch Mosk
May 12, 2017<May 12, 2017 Feature: The Energy and Emotion of Smith & Thell’s Debut ‘Soulprints’ by Mitch Mosk
For the Love of Music
For the Love of Music
