July 31, 2019<July 31, 2019 Album Premiere: Female Energy Fuels So Sensitive’s Alluring Debut ‘Bedroom Drama’ by Mitch Mosk
July 30, 2019<July 30, 2019 Live Review: Mdou Moctar Takes Crowd on Magical Journey at Halifax Jazz Fest by Oliver Crook
July 29, 2019<July 29, 2019 Requiem for a Poor Mathô: A Review of MARINA’s ‘Love + Fear’ by Ben Niesen
July 29, 2019<July 29, 2019 The Ultimate Matriarchal Experience: British Summertime Festival 2019 by Hermione Kellow
July 26, 2019<July 26, 2019 A Beautiful Marriage of Vintage and Modern: A Conversation with Weird Milk by Adrian Vargas
July 25, 2019<July 26, 2019 Interview: Lauran Hibberd Lets Loose on “Frankie’s Girlfriend” with Raw Indie Rock Zeal by Mitch Mosk
July 25, 2019<October 7, 2020 EP Premiere: The Honey & Salt of Terrible Sons’ ‘With Feathers’ Explores the Weight of the Soul by Oliver Crook
July 22, 2019<July 22, 2019 Review: The Portland Ambience of Rose City Band’s Self-Titled Debut by Ben Niesen
July 17, 2019<July 17, 2019 Album Premiere: In ‘Rarest of Birds’, Grizfolk Fight Personal Struggles with Visions of the Sun by Frankie Rose
July 17, 2019<September 9, 2019 Review: London’s Zola Courtney Debuts with Breathtaking, Heartbroken “Untitled” by Mitch Mosk
9.1 July 12, 2019<December 15, 2020 Our Take: Flying Lotus’ Sprawling ‘Flamagra’ Embodies His Prolificacy and Variety by Danny Vagnoni
July 12, 2019<July 11, 2019 Review: Matthew Frederick’s “Tell Me” Truly Wants to Know by Ilana Kalish
July 12, 2019<July 11, 2019 This Just In: Matt Corby and Tash Sultana “Talk It Out” in Effervescent New Single by Kelly McCafferty Dorogy
July 11, 2019<June 19, 2024 Tyler, the Creator Aims for Disgust, Contempt, and Empathy All at Once on ‘IGOR’ by Atwood Magazine Staff
For the Love of Music
For the Love of Music
