July 29, 2020<July 29, 2020 Review: The Dissolution of Blind Faith, Then an Awakening in Sufjan Stevens’ “America” & “My Rajneesh” by Nicole Almeida
July 29, 2020<July 29, 2020 Feature: Toronto’s Peach Luffe Weaves Dreamy Wonders in ‘Shimmer’ EP by Mitch Mosk
July 29, 2020<July 29, 2020 Just to Be Around: Louis the Child’s Debut Album ‘Here For Now’ Stuns by Audrey Steeves
July 28, 2020<June 29, 2024 Roundtable Discussion: A Review of Taylor Swift’s ‘folklore’ by Atwood Magazine Staff
July 28, 2020<July 28, 2020 Fracture & Fragility: Inside Haux’s Breathtaking Debut Album ‘Violence in a Quiet Mind’ by Mitch Mosk
July 28, 2020<July 28, 2020 Feature: Dad Bod’s ‘Precursor’ EP Is a Raw, Intimate, & Exciting Prelude by Mitch Mosk
July 27, 2020<July 27, 2020 Album Review: Inside the Forlorn Human Depths of Eliot Bronson’s ‘Empty Spaces’ by Mitch Mosk
July 27, 2020<July 27, 2020 Review: The Tender Indie Folk Beauty of Tommy Ashby’s ‘Everywhere Is Home’ EP by Mitch Mosk
July 24, 2020<July 24, 2020 Review: MisterWives Deliver with Soul Replenishing, Funk-Filled Third Album ‘SUPERBLOOM’ by Kelly McCafferty Dorogy
July 22, 2020<July 22, 2020 Girl God Makes His War Beautiful with Singular & Stunning Debut EP by Mitch Mosk
July 22, 2020<July 22, 2020 Review: Tom Speight Echoes Love & Tender Beauty in ‘Sunset Sound’ EP by Mitch Mosk
July 22, 2020<July 22, 2020 EP Review: Peter Manos’ Lyrical and Lonesome EP ‘Do You Turn Red?’ by Mariel Fechik
July 22, 2020<July 22, 2020 Review: Protomartyr Refine Their Old Sound with New Instruments on ‘Ultimate Success Today’ by Oliver Crook
July 21, 2020<July 21, 2020 Love & Heartbreak Coalesce in Sarah Barrios’ Pop-Perfect Debut ‘Letters I Never Sent’ EP by Mitch Mosk
July 20, 2020<July 20, 2020 Review: Blackness, Queerness, and Belonging on Dua Saleh’s ‘ROSETTA’ by Urooj Ali Rizvi
For the Love of Music
For the Love of Music
