August 29, 2019<August 29, 2019 Review: Kit Sebastian’s ‘Mantra Moderne’ Is a Postcard From Anatolia with Love by Ben Niesen
7.4 August 29, 2019<December 15, 2020 Our Take: Red Hearse Debut Their Genre-Defying Self-Titled Record by Meredith Nardino
August 29, 2019<August 29, 2019 EP Premiere: Dance Away Your Troubles with Butter’s ‘Nicotine’ by Ditta Demeter
August 28, 2019<August 28, 2019 Pounding Electronic Rhythms & Honest Lyricism Make Meija’s “Laugh It Off” a 2019 Standout by Adrian Vargas
August 27, 2019<August 27, 2019 Review: The Edgy Appeal of Jaden Smith’s New Album ‘ERYS’ by Urooj Ali Rizvi
August 26, 2019<June 29, 2024 Roundtable Discussion: A Review of Taylor Swift’s ‘Lover’ by Atwood Magazine Staff
August 23, 2019<August 23, 2019 ‘Thrashing Thru the Passion’ is The Hold Steady’s Resurrection by James Crowley
August 23, 2019<August 23, 2019 “People,” Meet Your New Favorite Hardcore Band: The 1975 by Anthony Kozlowski
10 August 21, 2019<December 15, 2020 Our Take: Bomethius’ Pleasantly Unpleasant ‘Sweet Nothings’ Is a Folk Masterpiece Hiding in Plain Sight by Anthony Kozlowski
August 20, 2019<August 29, 2019 Interview: Simone White’s Loving Paean to the Heart, “The Beep Beep Song” by Mitch Mosk
August 20, 2019<August 20, 2019 Latitude Festival 2019: Colourful Sheep, Emerging Talent, and Saving the Planet by Hermione Kellow
7.1 August 19, 2019<December 15, 2020 Our Take: Five Months After ‘The Big Day’, Chance the Rapper Is Still a Joyful, Skillful Young Man by Josh Weiner
August 19, 2019<August 19, 2019 Life as an ’80s Movie” EXNATIONS’ ‘Pink Haze’ and the Power of Nostalgia by Frankie Rose
8.1 August 13, 2019<December 15, 2020 Our Take: Necking’s ‘Cut Your Teeth’ is Pure Blunt Bombast by Danny Vagnoni
August 12, 2019<January 12, 2023 Black Pumas’ Eponymous Debut Album Is a Sonic Box of Chocolates by Ilana Kalish
For the Love of Music
For the Love of Music
