January 16, 2020<January 17, 2020 Review: Pinegrove Touch on Themes of Isolation & Monotony in 4th Album ‘Marigold’ by Bethan Harper
January 15, 2020<January 15, 2020 Discovering Some of History’s Hidden Figures in Frank Turner’s ‘No Man’s Land’ by Guest Writer
8.7 January 14, 2020<December 15, 2020 Our Take: Kaytranada Delivers the Last Great Dance Record of the 2010s by Josh Weiner
January 14, 2020<January 14, 2020 Review: Willie J Healey Creates Evocative Splendor with New EP ‘Hello Good Morning’ by Nina Schaarschmidt
8.7 January 7, 2020<December 15, 2020 Our Take: Akai Solo and Pink Siifu’s ‘Black Sand’ Is an Experimental Treasure by Ryan Feyre
December 19, 2019<June 29, 2024 Roundtable Discussion: A Review of Harry Styles’ ‘Fine Line’ by Atwood Magazine Staff
December 19, 2019<December 19, 2019 Today’s Song: Incantations of Modern Dread on Destroyer’s Newest Single “It Just Doesn’t Happen” by Adrian Vargas
December 18, 2019<December 18, 2019 Review: Nina Kraviz’s ‘MASSEDUCTION Rewired’ Is a Splintered, Over-Saturated Translation by Guest Writer
December 13, 2019<December 13, 2019 This Just In: Halsey Displays Duality in New Songs “Finally // beautiful stranger” and “SUGA’s Interlude” by Lexi Lane
December 12, 2019<December 12, 2019 Interview: aVIE Provides a Unique Flair to Hip-Hop Inspired Samples with New EP ‘The Escapade’ by Adrian Vargas
December 12, 2019<December 12, 2019 This Just In: talker Shatters Her Anxiety by “Learning the Feeling” by Anthony Kozlowski
December 11, 2019<December 11, 2019 Review: Bear’s Den Evoke Winter’s Warmth in ‘Only Son of the Falling Snow’ EP by Mitch Mosk
December 11, 2019<December 10, 2019 Live Review: A Night of Perfect Pop with Fickle Friends at The Joiners, Southampton by Bethan Harper
For the Love of Music
For the Love of Music
