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Columns, Music, Today's SongApril 8, 2026<April 8, 2026 Paris Paloma’s “Miyazaki” Is a Love Letter to Human Creation by Nicolle Knapová
Interviews, MusicApril 7, 2026<April 9, 2026 “I think it’s time just to make awesome rock music”: Jonny Tex Returns to SXSW with a New Sound, New Band, & New Sense of Purpose by Marissa DeLeon
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Columns, Music, Today's SongApril 7, 2026<April 6, 2026 “It’s all waiting there for you”: Harry Styles Captures the Beauty of Music Discovery & Offers an Outlook on Life Itself on “Carla’s Song” by Heleen Weber
Interviews, Music, Today's SongApril 6, 2026<April 11, 2026 “You Can Reject the Script That’s Handed to You”: The Undercover Dream Lovers’ Matt Koenig Is Living Life on His Own Terms (And You Can, Too) by Mitch Mosk
Features, Music, Reviews, RoundtableApril 6, 2026<April 6, 2026 Roundtable Discussion: A Review of Harry Styles’ ‘Kiss All The Time. Disco, Occasionally.’ by Atwood Magazine Staff
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Music, ReviewsApril 6, 2026<April 6, 2026 Melanie Martinez’s ‘HADES’: A Descent into Pop’s Most Unsettling Underworld by Danielle Holian
Music, ReviewsApril 6, 2026<April 6, 2026 The Magical Renaissance of U2: A Reflection on ‘Days of Ash’ and ‘Easter Lily’ by David Buyze
Music, Music Videos, PremieresApril 3, 2026<April 9, 2026 “Not what you said, but how you said it”: Charlie Lim Lays Himself Bare on “Nobody’s Home,” a Gut-Wrenching Portrait of Grief and Emotional Reckoning by Mitch Mosk
Interviews, Music, Today's SongApril 3, 2026<April 3, 2026 “SWEET LOVE”: Stephen Sanchez Falls Head Over Heels into a Feel-Good, Heart-on-Sleeve Retro-Pop Anthem by Mitch Mosk
Music, ReviewsApril 3, 2026<April 3, 2026 The Clockworks’ Sophomore Album ‘The Entertainment’ Is Where the Noise Softens and the Truth Slips Through by Danielle Holian
Music, ReviewsApril 3, 2026<April 3, 2026 MONSTA X Rework Their English Sound With a More Personal Edge on ‘Unfold’ by Aileen Goos
For the Love of Music
For the Love of Music
