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March 13, 2024<March 13, 2024

Interview: Chaz Cardigan’s Conceptual ‘A Year in Glassland’ Is a Selfless Telling of His Story… By Him, for Me & You

by Noah Wade

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“I’m just a really pure person”: WILDBERRY Speaks on Creative Virtues, the Ubiquity of Love, & Debut Record ‘AGAPE’
Nostalgia Tracks: Labi Siffre’s “Bless the Telephone” Is the Perfect Love Song
Review: Michael Kiwanuka’s ‘Small Changes’ Is a Quiet Departure From His Big Sound
Premiere: flipturn Shine Bright & Burn Out on “Sunlight,” an Explosive Confrontation With Untended Emotional Wounds
Atwood Magazine’s Weekly Roundup: November 20, 2024
“Stand tall, show no fear”: The Slow Readers Club Channel Angst, Urgency, & Hope into “Technofear,” an Anthem Born of Modern Chaos
Track-by-Track: KAIRO’s Fresh, Energetic, & Unpredictable Debut Album, ‘ARE WE THERE YET?’

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“I’m just a really pure person”: WILDBERRY Speaks on Creative Virtues, the Ubiquity of Love, & Debut Record ‘AGAPE’ November 21, 2024
Nostalgia Tracks: Labi Siffre’s “Bless the Telephone” Is the Perfect Love Song November 21, 2024
Review: Michael Kiwanuka’s ‘Small Changes’ Is a Quiet Departure From His Big Sound November 21, 2024
Premiere: flipturn Shine Bright & Burn Out on “Sunlight,” an Explosive Confrontation With Untended Emotional Wounds November 21, 2024
Atwood Magazine’s Weekly Roundup: November 20, 2024 November 20, 2024
“Stand tall, show no fear”: The Slow Readers Club Channel Angst, Urgency, & Hope into “Technofear,” an Anthem Born of Modern Chaos November 20, 2024
Track-by-Track: KAIRO’s Fresh, Energetic, & Unpredictable Debut Album, ‘ARE WE THERE YET?’ November 19, 2024
Interview: George “Funky” Brown of Kool & The Gang Achieves a Profound Posthumous Send-Off With ‘Where I’m Coming From’ November 19, 2024
Nieve Ella, the GOAT of Grunge Indie Pop, Arrives With “Ganni Top (She Gets What She Needs)” November 19, 2024
“Born to be young and reckless”: Basking in the Heat of Never Ending Fall’s Cinematic Heartbreak Anthem “ISABEL” November 18, 2024

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