May 20, 2020<May 20, 2020 Review: Orpine Inject Duality & Depth into Debut Album ‘Grown Ungrown’ by Mitch Mosk
May 20, 2020<May 20, 2020 MisterWives Climb Out of Rock Bottom with Feel-Good Celebration, “SUPERBLOOM” by Kelly McCafferty Dorogy
9.4 May 19, 2020<December 15, 2020 Feature: altopalo’s Cinematic, Tender, & Stunning Sophomore Album ‘farawayfromeveryoneyouknow’ by Mitch Mosk
8.9 May 19, 2020<December 15, 2020 Our Take: My Ugly Clementine’s Debut Album ‘Vitamin C’ Is Empowering, Fresh-Squeezed Indie Rock by Mitch Mosk
May 18, 2020<May 19, 2020 Review: tri patterns’ Double Single “Kids” / “Grow” Is a Buoyant Indie Pop Light in the Dark by Mitch Mosk
9.3 May 18, 2020<December 15, 2020 Our Take: J.R. Wyatt’s ‘I’m Still Here’ Sits on the Divide of Past & Present with Unmatched Lyricism by Lowndes Commander
May 18, 2020<May 18, 2020 Album Review: Moses Sumney’s Beautiful, Multitudinous ‘græ’ by Mariel Fechik
8.3 May 15, 2020<December 15, 2020 Our Take: ‘It Is What It Is’ Finds a Grieving Thundercat at the Height of his Craft by Josh Weiner
May 15, 2020<May 15, 2020 Feature: Charlotte OC’s ‘Oh the Agony, Oh the Ecstasy’ EP Is a Passionate, Soulful Surrender by Mitch Mosk
May 15, 2020<May 15, 2020 This Just In: Maisie Peters’ Melodically Blissful Self-Love Anthem, “The List” by Kelly McCafferty Dorogy
May 14, 2020<May 14, 2020 Track-by-Track: Bjorn Rydhog’s ‘Give Me Sunshine’ EP Is a Dazzling Folk-Pop Oasis by Mitch Mosk
May 14, 2020<June 29, 2024 Roundtable Discussion: A Review of The Strokes’ ‘The New Abnormal’ by Atwood Magazine Staff
May 13, 2020<May 13, 2020 Review: Onsen’s Aching “Be There” Is a Song of Isolation & Longing by Mitch Mosk
May 12, 2020<May 12, 2020 Review: Full Colour Accept That “Times Change” in Anthemic New Single by Bethan Harper
May 11, 2020<May 11, 2020 EP Review: Roman Lewis Discusses Love, Heartbreak, and Growing Up on ‘My First Failed Fairytale’ by Nina Schaarschmidt
For the Love of Music
For the Love of Music
