January 12, 2023<January 12, 2023 Track-by-Track: The Simple Untamed Wanderlust of High Tea’s ‘Old Cowboy’ by Mitch Mosk
January 11, 2023<January 11, 2023 Track-by-Track: In an Explorative Realm of Growth & Self-Discovery with Natalie Shay’s ‘MILK’ EP by Joe Beer
7.1 January 10, 2023<January 10, 2023 Our Take: Brace Yourself for Jo-Jo & The Teeth’s High Octane Debut Album, ‘No More Good News’ by Dominic Kureen
8.6 January 4, 2023<September 20, 2023 Our Take: SZA Shines on Outstanding Sophomore Album ‘SOS’ by Josh Weiner
December 8, 2022<December 8, 2022 Track-by-Track: Jenny Kern’s Emotionally Encapsulated EP ‘Your Heart Knows’ Soars with Unparalleled Confessionalism & Creativity Alike by Joe Beer
December 5, 2022<December 5, 2022 Live Review: Palaye Royale’s North American Tour Finale Was All But a ‘Fever Dream’ by Isabella Le
November 23, 2022<November 23, 2022 Live Review: Wolf Alice Close Their North American ’22 Tour in Los Angeles by Nic Nichols
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<March 2, 2025 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