February 22, 2018<February 22, 2018 Premiere: Exposing Raw Vulnerability in Hayley Sabella’s “Love Is a Chisel” by Mitch Mosk
February 22, 2018<March 6, 2018 Album Premiere: High Up Radiate with Energy & Power on Debut ‘You Are Here’ by Mitch Mosk
February 21, 2018<February 21, 2018 This Just In: Witness the Start of Something Great on Our Girl’s “Our Girl” by Nicole Almeida
February 20, 2018<February 20, 2018 Review: flatsound’s “hummingbird” EP Offers the Barest Glimpse of Mitch Welling by Urooj Ali Rizvi
February 16, 2018<February 16, 2018 Music You Should Know: Confidence & Boldness on Billie Eilish’s Debut EP ‘dont smile at me’ by Nicole Almeida
February 16, 2018<February 16, 2018 This Just In: Juice Are Sweeter Than Ever with “Sugar” by Maggie McHale
February 14, 2018<February 14, 2018 This Just In: Celebrate Your Love with MONA’s Impassioned “Kiss Like a Woman” by Mitch Mosk
February 14, 2018<June 29, 2024 Roundtable Discussion: A Review of The Wombats’ ‘Beautiful People Will Ruin Your Life’ by Atwood Magazine Staff
February 13, 2018<April 26, 2018 Review: Natti Vogel Dissects Modern Relationships on ‘Serving Body’ EP by James Crowley
February 12, 2018<February 16, 2018 Review: First Aid Kit’s Ruins, Calling Our Hearts Home to Heal by Ilana Kalish
February 12, 2018<February 12, 2018 Our Take: Shakey Graves Evolves with Indie Influence on ‘The Sleep’ EP by Kelly Wynne
February 8, 2018<February 12, 2018 This Just In: James Bay Returns with Intimate, Electrifying “Wild Love” by Mitch Mosk
February 8, 2018<February 7, 2018 Today’s Song: Mr. Carnivore’s “Knees” Taps into Intimacy’s Darkness by Mitch Mosk
February 7, 2018<February 7, 2018 Our Take: Madison Beer Does It Her Way on ‘As She Pleases’ EP by Ethan Germann
February 7, 2018<February 7, 2018 Review: Long Neck’s ‘Will This Do?’ Subverts Femininity While Examining Catastrophe of Loss by Carolyn Fasone
For the Love of Music
For the Love of Music
