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
May 8, 2020<May 8, 2020 Interview: Multi-Talented New Zealand Producer Yuki Talks Debut Album ‘Be Free’ by Ryan Feyre
May 8, 2020<May 8, 2020 Review: Andrew Morphs Blues Rock with Classic Boom-Bap on ‘WOTW’ by Ryan Feyre
May 8, 2020<May 8, 2020 Music You Should Know: Chelsea Peretti’s ‘Foam and Flotsam’ Is Pure Comedic Gold by Lexi Lane
May 7, 2020<May 12, 2020 Feature: Oddnesse’s Unapologetic & Uncompromising Debut EP ‘Overindulgence’ by Mitch Mosk
May 7, 2020<May 7, 2020 This Just In: Tei Shi Dances Her Way Past Desire & Devotion in “Die 4 Ur Love” by Baylee Less
8.3 May 7, 2020<December 15, 2020 Our Take: Bomethius’ Ambitiously Crafted ‘inadiquit’ is More than Adequate by Anthony Kozlowski
For the Love of Music
For the Love of Music
