November 21, 2022<November 21, 2022 Review: Gold Panda’s ‘The Work’ Is a Glistening, Nervy Place Where Joy & Sadness Collide by Kevin Krein
November 21, 2022<November 21, 2022 Review: Revitalised with a Fresh Start, The Mars Volta Clean the Slate with First Album in a Decade by Adam Davidson
9.4 November 16, 2022<November 16, 2022 Our Take: Sudan Archives’ ‘Natural Brown Prom Queen’ Never Fails to Surprise by Sam Franzini
November 3, 2022<August 16, 2024 Roundtable Discussion: A Review of Arctic Monkeys’ ‘The Car’ by Atwood Magazine Staff
November 2, 2022<November 2, 2022 From the Heart: Scotland’s Frankie Morrow Debut with Enchanting & Cathartic ‘Blue Parrot Backpackers Hostel’ EP by Mitch Mosk
October 31, 2022<October 31, 2022 Review: Babehoven’s Debut Album ‘Light Moving Time’ Fearlessly Takes on Difficult Themes by Kevin Krein
October 28, 2022<June 29, 2024 Roundtable Discussion: A Review of Taylor Swift’s ‘Midnights’ by Atwood Magazine Staff
9.1 October 28, 2022<March 11, 2023 Our Take: Taylor Swift Stops Time with 10th Album ‘Midnights’ by Nic Nichols
October 27, 2022<October 27, 2022 Paul Thomas Saunders’ ‘Figure in a Landscape’ Is a Sparkling Panoramic View of Growth, Realisation, & Liberation by Rachel Leong
October 26, 2022<October 25, 2022 Music You Should Know: The Energy and Emotion of Laura Niquay’s ‘Waska Matisiwin’ by Frankie Rose
10 October 24, 2022<October 24, 2022 The 1975’s ‘Being Funny in a Foreign Language’ Is a Softly Stunning Masterpiece by Mitch Mosk
October 12, 2022<October 12, 2022 Bowie’s Extraordinary Dream: A Review of the Film ‘Moonage Daydream’ by David Buyze
8.3 October 12, 2022<October 12, 2022 Our Take: King Princess Proves She Deserves Her Crown with ‘Hold on Baby’ by Nic Nichols
October 8, 2022<October 26, 2022 Hozier’s New Song “Swan Upon Leda” Is a Hauntingly Beautiful Prayer, Plea, & Cry for Reproductive Rights by Mitch Mosk
October 6, 2022<October 6, 2022 Track-by-Track: Devour Lustrous Euphoria with Joulie Fox’s New EP ‘Love Is a Blessing’ by Joe Beer