February 28, 2019<February 28, 2019 EP Review: Baby Boys Reinvent the Creative Process on Debut EP ‘I’m Set’ by Meredith Nardino
February 27, 2019<February 28, 2019 Review: Sticky Fingers Pull Back the Veil in ‘Yours to Keep’ by James Meadows
February 26, 2019<February 26, 2019 Review: Melody’s Echo Chamber’s ‘Bon Voyage’, a Psychedelic Journey of Human Struggle & Self Reflection by Hermione Kellow
February 25, 2019<February 25, 2019 Review: J.S. Ondara Understands America Way Better Than We Do on Debut ‘Tales of America’ by Oliver Crook
February 22, 2019<June 29, 2024 Roundtable Discussion: A Review of Ariana Grande’s ‘thank u, next’ by Atwood Magazine Staff
February 22, 2019<February 22, 2019 Our Take: Julia Jacklin’s ‘Crushing’ Is an Outstanding Example of Personal and Musical Growth by Adrian Vargas
February 21, 2019<February 21, 2019 EP Review: The Raw Rock Punch of Buddie’s Debut ‘Change of Scenery’ by Mitch Mosk
February 21, 2019<February 21, 2019 EP Review: The Dreamy, Dazzling Beauty of RKCB’s Intimate ‘Shores’ by Mitch Mosk
February 16, 2019<February 16, 2019 Plested’s First & Foremost: A Track-By-Track Review by Luke Pettican
February 14, 2019<February 18, 2019 EP Premiere: Embracing Ethereal Intimacy & Grief in TESHA’s ‘Growing Pain II’ by Mitch Mosk
February 14, 2019<February 15, 2019 Album Premiere: Shook Twins Embrace Love & Life in Moving ‘Some Good Lives’ by Mitch Mosk
February 13, 2019<February 13, 2019 Our Take: Joy and Sorrow in Beirut’s ‘Gallipoli’ by Danny Vagnoni
February 13, 2019<February 13, 2019 Review: Dearheart’s ‘Too Late; Doesn’t Matter’ Displays the Ambition of Emo’s Next Wave by James Crowley
February 12, 2019<February 12, 2019 Album Premiere: The Enchanting Depth of Lisa Papineau’s ‘Oh Dead On Oh Love’ by Mitch Mosk
February 8, 2019<February 8, 2019 Review: Jessica Pratt Expands Her World with the Hypnotic ‘Quiet Signs’ by Frankie Rose
For the Love of Music
For the Love of Music
