July 26, 2019<December 21, 2024 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
July 10, 2019<July 10, 2019 Emily Blue Embraces Imperfection in Fun, Frisky “Bad Decisions” by Mitch Mosk
8.2 July 9, 2019<December 15, 2020 Our Take: “Let’s Rock” Is a Comeback to Admire for Long-Dormant The Black Keys by Josh Weiner
July 5, 2019<July 5, 2019 Memory, Pain, and Healing: Black Grapefruit Dive into Their Exquisite ‘Fade/Forget’ EP by Mitch Mosk
July 3, 2019<June 29, 2024 Roundtable Discussion: A Review of Vampire Weekend’s ‘Father of the Bride’ by Atwood Magazine Staff
For the Love of Music
For the Love of Music
