April 25, 2019<April 25, 2019 Artist to Watch: Lauran Hibberd Emerges with Savage Charm in “Hoochie” by Mitch Mosk
April 24, 2019<April 24, 2019 Live Review: LÉON Brings Her World to Life at The Foundry in Philadelphia by Nicole Almeida
April 22, 2019<April 19, 2019 Review: Mat Kerekes Exceeds Expectations with the Tangible World in ‘Ruby’ by Danielle Chelosky
April 22, 2019<April 22, 2019 Get High on Social Change and Radical Positivity with American High’s ‘U.N. Article 14’ by Carolyn Fasone
April 19, 2019<April 19, 2019 Live: Charlotte Lawrence Beguiles and Bewitches at Manchester’s Deaf Institute by Luke Pettican
April 19, 2019<April 19, 2019 Our Take: Robert Alfons Bares His Soul on TR/ST’s ‘The Destroyer – 1’ by Kareem Ghezawi
April 18, 2019<April 18, 2019 Our Take: Abd Al Malik Still Reigns Supreme in France’s Spoken-Word Scene by Josh Weiner
April 16, 2019<April 16, 2019 EP Review: Love Is in the Air, and Damon Mitchell’s ‘Elise’ Catches Every Whiff by Carolyn Fasone
April 12, 2019<April 12, 2019 Modest Mouse’s “Poison the Well” Is Laser-Focused Venom at the Powerful and Cruel by Danny Vagnoni
April 12, 2019<June 29, 2024 Roundtable Discussion: A Review of Billie Eilish’s ‘When We All Fall Asleep, Where Do We Go?’ by Atwood Magazine Staff
April 11, 2019<April 11, 2019 Our Take: Show Me the Body’s ‘Dog Whistle’ Is an Exhilarated Call for Community by Matthew Dunn
April 10, 2019<April 10, 2019 Premiere: Luke Sital-Singh’s “Raise Well” Radiates Hope & Love in a Golden State of Mind by Mitch Mosk
April 5, 2019<April 8, 2019 Review: The Prescriptions’ Debut ‘Hollywood Gold’ Is a Raw Dose of the Good Stuff by Mitch Mosk
April 5, 2019<April 5, 2019 The Long-Awaited Return of Foals: A Band Who Only Get Better with Age by Hermione Kellow
For the Love of Music
For the Love of Music
