June 6, 2024<June 6, 2024 Full Service: Boston Called, and Chappell Roan Picked Up the Phone by Hannah Burns
June 5, 2024<June 5, 2024 Live Review: Lizzy McAlpine Brings ‘Older’ to Life at The Greek Theatre in LA by Kelly McCafferty Dorogy
June 3, 2024<June 3, 2024 Beth Gibbons Pensively Looks at Her Past & What Lies Ahead Still on Solo Debut ‘Lives Outgrown’ by Kevin Krein
May 24, 2024<May 24, 2024 Live Review: AJR Strike Ears, Eyes, & Hearts on the “Maybe Man” Tour in San Diego by Isabella Le
May 23, 2024<May 23, 2024 “A Garage Rock Record That’s Definitely Not a Garage Rock Record”: Twisted Teens Explore Masculinity, Spirituality, & Sexuality on Their Energetic Debut Release by Guest Writer
9.4 May 22, 2024<May 22, 2024 Our Take: Country Music’s Next Big Artist, Laci Kaye Booth, Wows on Debut Album ‘The Loneliest Girl in the World’ by Emily Frances Algar
May 20, 2024<May 20, 2024 Track-by-Track: England’s TYDL Radiate with Empowerment in ‘Ethereal’ EP by Joe Beer
May 20, 2024<May 20, 2024 Review: Pussy Riot’s ‘DARK MATTER’ Series Is an Uncompromising, Exasperated Examination of Authoritarianism & Our Role in Enacting Change by Julia Dzurillay
May 17, 2024<June 29, 2024 Roundtable Discussion: A Review of St. Vincent’s ‘All Born Screaming’ by Atwood Magazine Staff
May 14, 2024<May 14, 2024 She’s Green Had Me “Smiling Again” at Their First Ever New York Show at the Knitting Factory by Noah Berghammer
May 14, 2024<June 29, 2024 Roundtable Discussion: A Review of Dua Lipa’s ‘Radical Optimism’ by Atwood Magazine Staff
May 13, 2024<May 13, 2024 Review: Amen Dunes’ ‘Death Jokes’ Is a Post-Modern Beachball: Colourful on the Surface and Full of Air Inside by Hamish Monk
May 13, 2024<May 13, 2024 Radiant, Glowing, and Infectiously Fun: Olivia Dean Live at the Eventim Apollo, London by Rachel Leong
May 10, 2024<May 10, 2024 ‘Blink Twice If You’re Okay’: FARR Invite Us into Their Blissful, Psychedelic Cocoon of Effortless Synergy With New EP by Danielle Furman
9.2 May 9, 2024<May 9, 2024 Our Take: Kamasi Washington Asserts His Dominance in the World of Jazz on ‘Fearless Movement’ by Josh Weiner