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Features, Interviews, Music, Track-by-TrackNovember 3, 2023<November 3, 2023 Nostalgic, Dusky, & Contemplative: Victoria Bigelow’s Beautifully Brutal ‘Songs for No One Vol. 1’ by Mitch Mosk
Columns, Features, Music, Weekly RoundupNovember 3, 2023<November 3, 2023 Atwood Magazine’s Weekly Roundup: November 3, 2023 by Atwood Magazine Staff
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Columns, Music, Today's SongNovember 2, 2023<November 2, 2023 Today’s Song: mehro’s New Single Is an Intimate Rush of Raw “dopamine” by Mitch Mosk
Features, Interviews, Music, Track-by-TrackNovember 1, 2023<November 1, 2023 Catharsis, Honesty, & Healing: Rett Madison Leans into Grief on ‘One for Jackie,’ Her Soul-Stirring Sophomore LP by Mitch Mosk
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Columns, Music, Today's SongNovember 1, 2023<November 1, 2023 “There’s no need to cry”: Allie X Returns With Enticingly Eerie Dark-Pop Single “Black Eye” by Marissa DeLeon
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MusicOctober 31, 2023<November 1, 2023 “I wanted to explore the person I was becoming”: Teddy Geiger Premieres ‘Teresa,’ an Album of Transition, Reconnection, & Self-Discovery by Mitch Mosk
Features, Interviews, Music, Track-by-TrackOctober 31, 2023<October 31, 2023 “A Warm and Safe Space”: Maple Glider Is Vulnerable, Raw, & Exposed on ‘I Get into Trouble,’ Her Breathtaking Sophomore Album by Mitch Mosk
8.7 Features, Music, Our Take, ReviewsOctober 31, 2023<October 31, 2023 Our Take: Thirty Years of Pearl Jam’s ‘Vs.’ by Audrey Connelly
Features, Interviews, MusicOctober 31, 2023<October 31, 2023 Interview: “Floated By” Boasts the Eclectic Charm of Peter Cat Recording Co. by Miles Campbell
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For the Love of Music
For the Love of Music
