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The Killers 2019

Land of the Free - The Killers

Features, Music, Reviews, This Just InJanuary 15, 2019<January 24, 2019

The Killers’ Impassioned “Land of the Free,” an American Protest

by Mitch Mosk

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“Shining a light on the shadow self”: Hank Heaven’s “Plan 2” Preaches Empathy With a Tender Indie Twang
Interview: Jon Sandler & Luke Mollman Are in a State of Existence That’s Great Good Fine Ok With Them
‘Deer in the Headlights’: Essence Martins’ Inner Light Shines on Her Introspective, Ethereal, & Thought-Provoking Debut EP
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“Breaking up the airwaves, on and on I go”: The Enchanting Warmth, Weight, & Wonder of Kramies’ “Social Light”
“A thug praying for some change”: Chicago’s Juice Mazelee Charts His Turbulent Coming-of-Age on “WISH N A PRAYER”

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Recent Posts

“Shining a light on the shadow self”: Hank Heaven’s “Plan 2” Preaches Empathy With a Tender Indie Twang April 18, 2024
Interview: Jon Sandler & Luke Mollman Are in a State of Existence That’s Great Good Fine Ok With Them April 18, 2024
‘Deer in the Headlights’: Essence Martins’ Inner Light Shines on Her Introspective, Ethereal, & Thought-Provoking Debut EP April 18, 2024
Track-by-Track: Cat Ryan Debut With a Sweet Heat in ‘King of the World,’ Their Fun & Frisky Debut EP April 18, 2024
Premiere: Stephanie Lambring’s Haunting “Cover Girl” Reckons with Dysmorphia, Authenticity, & the Pressures of Social Media April 18, 2024
“Breaking up the airwaves, on and on I go”: The Enchanting Warmth, Weight, & Wonder of Kramies’ “Social Light” April 17, 2024
“A thug praying for some change”: Chicago’s Juice Mazelee Charts His Turbulent Coming-of-Age on “WISH N A PRAYER” April 17, 2024
‘Please Leave Quietly’: Melbourne’s Leo Channels Trauma & Angst into Breathtaking Beauty on Rip-Roaring Debut EP April 16, 2024
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“Intention through performance”: Celestial Sounds from Seattle’s Akira Galaxy April 16, 2024

© Atwood Magazine 2023 For the Love of Music

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