February 5, 2019<February 5, 2019 Album Premiere: Deidre & The Dark’s Debut ‘Variety Hour’ Is Free, Fun, and Classic by Mitch Mosk
February 1, 2019<February 1, 2019 Review: The Stirring Vulnerability of Gabriella Rose’s Intimate Debut EP ‘Lost in Translation’ by Mitch Mosk
February 1, 2019<February 1, 2019 Today’s Song: Sam Smith and Normani Find Temporary Solace “Dancing With A Stranger” by Maggie McHale
January 31, 2019<June 29, 2024 Roundtable Discussion: A Review of Weezer’s Teal Album by Atwood Magazine Staff
January 31, 2019<January 31, 2019 Our Take: Spielbergs’ ‘This Is Not The End’ Is the Album You’ve Been Waiting for Since You Grew Out Your Mohawk and Got a Job by Oliver Crook
January 31, 2019<January 31, 2019 Review: With Better Oblivion Community Center, Conor Oberst & Phoebe Bridgers Unite in Indie Folk Heaven by Abby Jones
January 30, 2019<September 13, 2022 Two Steps Forward & One Step Back with The Japanese House’s “Maybe You’re the Reason” by Jesse Herb
January 30, 2019<February 19, 2019 Premiere: Coping with Grief in EXES & JOME’s Poignant “Stay Still” by Mitch Mosk
January 28, 2019<January 28, 2019 Our Take: Deerhunter Dissolve the Formula in ‘Why Hasn’t Everything Already Disappeared?’ but the Elements Are Still There by Ben Niesen
January 25, 2019<January 28, 2019 Review: ‘King of the Dudes’ Will Make Sunflower Bean Live Forever by Nicole Almeida
January 25, 2019<January 26, 2019 Review: ‘Trigger Warning’ with Killer Mike Has a Big Heart Underneath its Pugilistic Attitude by Danny Vagnoni
January 25, 2019<December 18, 2019 Vampire Weekend’s Radiant “Harmony Hall” Shines with Energizing Conviction by Mitch Mosk
January 25, 2019<June 29, 2024 Roundtable Discussion: A Review of James Blake’s ‘Assume Form’ by Atwood Magazine Staff
For the Love of Music
For the Love of Music
