Every Friday, Atwood Magazine’s staff share what they’ve been listening to that week – a song, an album, an artist – whatever’s been having an impact on them, in the moment.
This week’s weekly roundup features music by Never Ending Fall, Momma, LØLØ, Alicia Glass, Astoria, idkraeven, Holy Pinto, Declan Welsh and The Decadent West, Mamalarky, Bighead Tea Drinkers, Wes Scott, Samantha Gongol, Cathartic Fall, Quiet Houses, Buddie, Fraser Morgan, Lioness, sacha, Mood Bored, The Rooks, Natasha Bianca, The Slow Readers Club, Chalk, Trev Peacock, and Ceara Cavalieri!
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follow WEEKLY ROUNDUP on Spotify
:: “ISABEL” – Never Ending Fall ::
Mitch Mosk, Beacon, New York
Never Ending Fall are lighting up this Autumn’s airwaves with a cinematic, stadium-sized singalong that’s sure to invigorate, inspire, and light a fire within all who listen. Released October 25th, “ISABEL” is a spellbinding, nostalgia-soaked seduction full of that oh-so-familiar love and longing, heartache and yearning that this season seems to effortlessly and inevitably conjure up in us all. Yet while the ‘stick season’ (as we all now call it) tends to often don a softer blanket, the Los Angeles-based, Maryland-made indie rock band are keeping things hot and dreamy for a few minutes more. “ISABEL” calls to mind greats like Journey and Toto – it’s big, it’s bold, and it’s utterly, unfailingly all-consuming.
She was born real close to the country.
Far from the glitter and money.
A black horse playing the jockey,
Baby, she’s my Isabel.
I promise that I’ll write you a letter,
As soon as I get it together.
For now, I’m just one with the weather.
Baby, she’s my Isabel.
Ain’t that something?
Ain’t that something?
I met her at a bar in New England.
Told me she was born for singing.
Cigarettes only when drinking.
Love as far as I can tell.
I swear one day that she’ll need me.
Burned her favorite songs on a CD.
Nothing good ever comes easy.
Baby, she’s my Isabel.
“‘ISABEL’ is the story of a small-town girl trying to find herself told through the lens of the boy she never truly loved,” Never Ending Fall – comprised of Jack Miller, Tommy St.Clair, Conrad Boyd, Johnny Hohman, and Pearce Eisenhardt – tell Atwood Magazine.
“We wanted to take on a familiar, but modern sound while reflecting about coming-up-short and heartbroken. The lyrics depict a heartbreak we are all too familiar with, and the music provides a sense of comfort and acceptance through a driving rhythm. Combining old with new, with a Springsteen-inspired sound, this song transcends generations.”
She’s moving back west to Texas,
Going wherever her ex is.
Born to be young and reckless.
I know I’m not the only one.
I know she’ll never love me like I do.
Wasting time trying to find you.
I’ll never be someone to run to.
She’ll keep running, running, running,
Running, running, run.
She’ll keep running, running, running,
Running, running, run.
She’ll keep running, running, running,
Running, running, run.
It’s the heat of the moment (literally and figuratively) for the 2020s: A dynamic, radiant, and roaring reverie whose catchy chorus is bested only by a breathtaking guitar solo that demands repeat listens. While we had already fallen hard and fast for Never Ending Fall thanks to this past August’s debut album American Disco, “ISABEL” seals the deal on the five-piece as one of the most promising indie rock bands of our time.
:: “Ohio All the Time” – Momma ::
Mitch Mosk, Beacon, New York
There’s an infectious, smile-inducing sense of freedom and possibility radiating off Momma’s first song of the year. An enchanting indie rock fever dream, “Ohio All the Time” is ready to be the soundtrack to our emotional release; to our soul’s reckoning and redemption. Following 2022’s critically acclaimed sophomore album Household Name and a smattering of songs released in 2023, this track heralds Momma’s ‘return’ to the indie rock spotlight as the Brooklyn band usher in what they’re calling an “exciting new chapter” in what has already been an exhilarating career.
I’m standing by the sign
Ohio I get dizzier when I’m outside
100 on the line
These nights are getting busier by my design
Take a picture
A minute with her
Should we call it a night ?
Alright
A broken front plate
Happy birthday
Show your cards, roll the dice
“We wrote ‘Ohio All the Time’ about a summer when we were on tour, and it felt like everything in our lives changed within a one-month span,” the four-piece of Etta Friedman (songwriter/vocalist/guitarist), Allegra Weingarten (songwriter/vocalist/guitarist), Aron Kobayashi Ritch (producer/bassist), and Preston Fulks (drummer) tell Atwood Magazine. “We wanted the video to capture that youthful feeling, like the world is brand new and everything is ahead of you. We went upstate to our friend’s house near Hudson to film, and just spent the whole day goofing off and running around.”
The song’s chorus is a moment of connection, of reckoning, of euphoria and unfiltered upheaval:
I’m running to you, right?
I’m running to you, right?
I’m gunning for you
Never been bad but I’ll try
I’m putting up a fight
I’m f*ing up my life
I’m running to you, right?
Alright alright
Earlier this April, I – like so many others – donned my special pair of glasses to go outside and view the once-in-a-generation total solar eclipse. Staring at the space in the sky where the sun should have been, I felt a sense of tranquility and calm; the darkness was eerie, but I remember feeling safe in the knowledge that the great big ball of fire in the sky would once more return to its post and bring its sweet heat into our lives (it really did get colder for a few minutes there!).
Your silly little cues
I never got ohio babe but now I do
And I’m stuck in 22
I’m hanging out forever
Summer’s a tattoo
With you
Heard a whisper
“He wants to kiss her”
And I wanna know what it’s like
It’s like,
An empty bottle
And now my mouths full
Ohio you have me tonight
Again and again, “Ohio All the Time” evokes those same feelings I felt in that instant this past spring; it’s a cathartic untethering that fosters weightlessness and wonder, lighting a fire that may warm us or consume us – but it’s a fire nonetheless, and it’s good to feel that burn. Welcome back, Momma; it’s good to have you back!
I’m running to you, right?
I’m running to you, right?
I’m gunning for you
Never been bad but I’ll try
I’m putting up a fight
I’m f*ing up my life
I’m running to you, right?
Alright alright
:: “DON’T!” – LØLØ ::
Josh Weiner, Washington DC
I’ve covered several of LØLØ’s songs for Atwood before (and enjoyed every one of them!) so I was happy to do the same with “DON’T!”, which will be included as one of the bonus tracks of the deluxe edition of her most recent album, Falling for Robots & Wishing I Was One, due out in early 2025.
“DON’T” shifts between rapped verses and a sung chorus in a manner more reminiscent of Olivia Rodrigo’s “Get Him Back!” than tons of what I’ve heard from her previously. But all of the sass, good humor, and clever lashing back at toxic lover boys that have been characteristic of much of LØLØ’s past work definitely come roaring back in full mode this time around, especially with some electric pop-punk instrumentals to match her mood.
“[It’s] a really fun song to scream at yourself when you’ve been thinking about that ‘toxic special someone’ for way longer than you should be – or even, at all,” the Toronto native says. Whether you’ve had the good fortune to avoid any toxic relationships over the years or not, this two-and-a-half minute burst of pure energy is sure to be uplifting and cathartic for all.
:: Close / Open – Alicia Glass ::
Danielle Holian, Galway, Ireland
Alicia Glass’s debut EP, Close / Open, is a raw, evocative journey into the gritty heart of trailer park life, brimming with the frustrations and quiet hopes that shape life on society’s fringes. Each track pulses with Glass’s unique “dirtbag dream rock” style—a blend of grungy guitar riffs and deeply reflective lyrics that carry the listener through moments of heartbreak and humor. Her vocals, alternating between fierce and fragile, are layered over stripped-down instrumentation that captures both the relentless monotony and fleeting beauty of everyday struggles.
Close / Open shines as much for its unapologetic embrace of imperfection as for its storytelling. Written in between shifts and woven together in laundromats, the EP resonates with listeners who know the struggle of finding purpose amid mundane routines. Glass’s lyrics are unabashedly personal yet universally relatable, speaking to anyone who has ever longed for escape from the grind. With this EP, Alicia Glass asserts herself as a voice for the underdog, unafraid to reveal the raw edges of her experience in pursuit of something real.
:: “TRUE LUCK” – Astoria ::
Rachel Leong, France
Astoria arrives with shimmering hypnotic single, “TRUE LUCK,” and drops her debut album, BORNE WORLD, an escapist rumination on life, death and rebirth.
Astoria is the brainchild of artist/producer, Isabelle Ennis. Rooted in the soundscapes of experimental pop electronica, Astoria’s wistful vocals beckon you into her atmosphere, combining fusions of synths, harps, samplers and an array of electronic instruments. She’s constantly exploring sonic possibility, and she pushes the boundaries of her world at every turn. The New York based artist draws inspiration from places, people and memory to craft her distinctive sound. Living in Asheville, North Carolina for the past 8 years, Astoria credits the city for making up her being, and “True Luck” arrives as a result of this. Echoey synths propel Astoria’s distinctive vocals forth, as sparkling harmonies fuse with philosophical shadows to maintain a trip-hop twist on the lead single.
Perhaps timely, the record arrives in the wake of Hurricane Helene. Striking a personal chord with the artist, Ennis wishes to utilize the platform gained through this release to spread awareness to the struggles the Asheville community are currently facing. Paying homage to her Asheville collaborators credited on BORNE WORLD, the record has taken on new meaning to Ennis in the wake of the disaster.
:: NETHERWATER – idkraeven ::
Joe Beer, Surrey, UK
idkraeven invites listeners to read pages from her personal life journal with her new EP, NETHERWATER. The intimate new release sees the songwriter reflecting on moments throughout her life that got her to where she is today, and for the most part, it’s been a harrowing and traumatic journey. The eight-track release starts off with “BLEED OUT” acting as a catalyst for the EP and starting off at the beginning of her story. The song is a big middle finger up to her adoptive parents, who caused an incredible amount of damage and psychological distress.
The songwriter shares, “I call them out in the first line, asking if they’re satisfied with the havoc they wreaked on my life, after they kicked me out at 17. In this song, I speak about the struggle, pain, and mental torture it’s taken to slowly claw my way up to stability. This song was also made with the intention of holding Christian parents accountable not to cherry-pick the Bible when trying to raise their “good Christian kids”. You can’t hate me for being a bisexual stoner and then turn around and claim that you make a conscious effort to display Jesus’ love to others. Jesus thinks I’m cool as f*.”
Despite the negative themes, you can’t help but notice how far idkraeven has come, refusing to let the actions of others cause any more harm to her life. Her strength is inspiring as she emphasizes, “Everything HAS been the f*ing same for too long. But I’ll change that. You’ll see.”
NETHERWATER ignites the beginning of an exciting new chapter for idkraeven, offering a fresh and feminine edge to the current emo scene.
:: “Death is in the Air” – Holy Pinto ::
James Crowley, New York
Aymen Saleh’s latest single “Death is in the Air” as Holy Pinto is a bittersweet piece of pop-folk. The Milwaukee-based English musician has composed an instantly catchy and simple song, built around soft guitar arpeggios that build to anthemic swells. The production certainly has a quality of reinvigoration to it. While the song’s title would lead you to think that it may be a darker tune, the tune certainly has an adventurous quality, making it all the more life-affirming.
Saleh’s lyrics are truly front-and-center throughout this song. He shows off a poetic knack as he looks back on past relationships and assesses his life’s current state. “I was excited to grow up, but then I lost interest/I was so in love with you, before I was a mess,” he sings at one moment. Despite some melancholy, there is an underlying sense of hope.
“Let’s bless these days, Thursday nights/I’m feeling now like the dream is dying/Forgive me, dear, sunday nights/Sitting on the train tracks, waiting for the headlights,” he sings at the end. Even though death may be in the air, there is still plenty of reason to make the most of your time here.
:: “Inaction” – Declan Welsh and the Decadent West ::
Mitch Mosk, Beacon, New York
The fire rages in Declan Welsh and the Decadent West’s new single, just as fires continue to rage around the world, unchecked and unstopped. Released October 11th via Frictionless Music, “Inaction” is angry, raw, and loud: A provocative, impassioned anthem that looks on in disgust as senseless, brutal wars are waged and hundreds of thousands suffer.
Since their inception in the mid-2010s, the Glasgow punk band have used their music to speak out about current events – in fact, their previous single, “Walk a Mile in Gaza” (released in June 2024) served as an attempt to humanize the suffering of innocent Palestinians in war-torn Gaza.
Inaction
Inattentive for all the distractions
Factions
Drawn along reactions
Protracting
The facts at hand in a manner
That neither calms nor empowers
Hours and days and months
poured into
discussing all there is to discuss
Because w prima facie entrust
This riposte of ideas as robust
“Inaction” is a more universal uproar that will stand the test of time, though it was made with the present Israeli-Palestinian conflict in mind. “This is a song written after nearly a year of watching the worst things imaginable happen to people on a daily basis, live-streamed while everyone has various debates about whether it should happen, and we all stand up and say that it shouldn’t while it continues,” frontman Declan Welsh tells Atwood Magazine.
“It is a criticism of the idea of debate in and of itself, and of the limits of free discussion and expression as a tool to be used by people to change things. It’s a frenetic, frustrated, five hundred mile an hour punk song designed to be played live and felt.”
Welsh and his band rise to a fever pitch as they hit an emotionally charged climax in the chorus, his searing voice hot on the mic as he bares his heavy soul:
What if it’s all just the jingle of the keys
The shining of a light
The subtle misdirection
The markets hand is slight
And despite all my affection
For the sound of my own voice
Is there a point to all the
Talk talk, chit chat
Talk talk, chit chat
Talk talk chit chat talk talk
Listening to “Inaction” is not just inspiring; it’s invigorating. War continues to rage as I type these words; death tolls continue to rise with no end in sight, and the Middle East conflict appears to be growing, not shrinking, as those parties involved choose to perpetuate violence over seeking peace. It’s infuriating, and the situation can and does make one feel helpless. At the very least, we have an outlet in songs like “Inaction” to scream at the top of our lungs until our voices, raw and ragged, burn like the aching pain we feel in our guts.
Debates placate the need innate
for us to feel like we participate
But that we see an oasis shaped
Is no proof we don’t hallucinate
We validate the mandate
Of private corporations
Who sell us ethics as asthetics
As status updates
And what if it’s all a machine that by design
Takes what will destroy it and makes it so benign
Like a picture of Guevara on shirt that’s made in Taiwan
As long as the colour is black, you can have any car you want
What if it’s all just the jingle of the keys
The shining of a light
The subtle misdirection
The markets hand is slight
And despite all my affection
For the sound of my own voice
Is there a point to all the
Talk talk, chit chat
Talk talk, chit chat
:: “Nothing Lasts Forever” – Mamalarky ::
Mitch Mosk, Beacon, New York
Mamalarky channel that inescapable summer heat into smoky, seductive sound on their intoxicating first song of the year. A feverish, funk-fueled daydream, “Nothing Lasts Forever” is unfiltered, undeniable, and all-consuming: A larger-than-life eruption that aches with heavy, thick bass pulses and sweet vocals that tickle the ears and stir the soul.
And you know it can’t be wrong
If I’ve been feeling this so long
But I think I’ve been caught
As I’m bracing for the fall
Life is flashing past my eyes
And I see you there sometimes
Every good book needs a bind
At least I can say I tried
“We were in the dead of the summer experiencing another climate-crisis heatwave in LA with no AC,” Mamalarky frontwoman Livvy Bennett tells Atwood Magazine. “This song kind of sizzled out as our brain cells were struggling to fire. Everyone started dancing. We were supposed to be writing songs for someone else, but we liked this one too much, so we never sent it in.”
“We wanted to write about how it feels to not entirely know where you stand with someone. To think that you can see the future but ultimately surrender to uncertainty. The lyrics are obviously a little contradiction. Maybe not knowing is part of the fun?”
Nothing Lasts Forever
Except for you and me
Waking up together
You can read between the sheets
Please don’t wait for answers
The questions are the fun
Am I your forever?
Or just another one
Mamalarky’s first “new” offering since releasing their absolutely stunning sophomore album Pocket Fantasy two years ago (they also put out the six-track EP Mamalarky on Audiotree Live last August), “Nothing Lasts Forever” is three minutes of magic: A sultry, soulful, spellbinding meteor that promises to bring the heat, while soothing our restless hearts.
It’s true, nothing lasts forever, but this song will last for a long, long time.
Red carnelian is my stone
And now I think this is my song
But you keep yourself unknown
StillI know you from your tone
There’s a locket on my heart
And I think that it’s a start
Every moment plays a part
In the story that we are
Nothing Lasts Forever
Except for you and me
When we’re not together
Don’t you wish that we could be?
Don’t wait for answers
The questions are the fun
Am I your forever?
Or just another one
:: “The Land Is Hers” – Bighead Tea Drinkers ::
Danielle Holian, Galway, Ireland
Brighton’s rising band, Bighead Tea Drinkers, have just released their latest single, “The Land Is Hers,” showcasing their signature blend of ’90s influences with a modern twist. Drawing inspiration from groups like early Oasis and The La’s, the band has carved out a unique sound on the South Coast. Their recent string of gigs and singles has earned them a growing local fanbase, thanks in part to their collaborative approach to songwriting. With all four members contributing ideas, they bring diverse influences to their music, allowing them to explore a range of styles and avoid being pigeonholed.
“The Land Is Hers” stands apart from the band’s previous summery tracks, delivering a punchy, high-energy indie pop anthem. With clear ’90s indie rock roots, the track feels dynamic and layered, offering multiple perspectives in its sound. The bristling guitars and driving rhythm push the song forward, creating a feeling of urgency. In keeping with their collaborative ethos, each band member’s input shapes the track, leading to a rich, multi-dimensional piece that showcases the band’s versatility and creative spirit.
:: The Wes Scott Project – Wes Scott ::
Chloe Robinson, California
Indie pop artist Wes Scott’s vibrant new EP The Wes Scott Project concocts a nostalgic feel that will have you fully hooked. Every song intricately describes a different part of his life. The 5-track body of work opens with the energetic “SUPERHERO.” We all could use a superhero in those times we are feeling low making the piece relatable to so many. The glowing soundscapes and airy vocals create the ideal combination. “Rough Start” deals with the tricky nature of relationships. In the beginning of a partnership it is easy to want to keep things from the other person for fear of hurt and rejection. This wistful piece perfectly encapsulates that rough start. “Should I Call Home” is an edgier offering from the EP. There can be a lot of anxiety when you are gone for a long period of time. You feel that apprehension and worry throughout the vocal and sonic.
Scott is a Long Island New York native whose music is wrapped in masterful storytelling and infectious melodies. He enjoys a good superhero movie and is a big fan of the NY Rangers. He takes inspiration from his favorite pastimes and you can feel that passion within each of his songs. The Wes Scott Project possesses that same raw heart.
:: “Flash in the Pan” – Samantha Gongol ::
Julius Robinson, California
As time goes on it is easy to criticize our lives and where we are going. Samantha Gongol’s “Flash in the Pan” is a highly reflective release touching on the temporary nature of the music industry. Her warm pop vocals float over delicate synths. Not knowing whether her success is fleeting, she sarcastically calls herself a ‘flash in the pan.’ Lyrics like “They say when good things end. You can’t get them back again. But if you had the face baby then maybe it’s as good as it gets,” illustrate an internal fear that you have forever lost your moment in the spotlight.
Gongol can be recognized as one-half of the duo Marian Hill whose prominent hits include “One Time” and “Down.” Now she steps out with her first solo release. “Flash in the Pan” along with its companion song “Planes are Low” examines themes of time passing and uncertainty. As we get older that can create more worry and doubt in our lives. Many of us can connect to exactly how she is feeling. Was it her big moment or was she just a ‘flash in the pan’?
:: Cathartic Fall | the features – Cathartic Fall ::
Danielle Holian, Galway, Ireland
Renowned producer Jeoff Harris expands his artistic vision with the re-release of Cathartic Fall, an album that blends immersive ambient soundscapes with deeply emotional narratives centered around themes of grief, loss, and personal growth. This project highlights Harris’s ability to create powerful music that resonates with listeners, offering an exploration of the complexities of human emotion. The re-release features unique collaborations with influential voices in poetry and mental health, including spoken word performances from Whitney Hanson, Allie Michelle, Trev Cimenski, and Matthias J Barker, enriching the album’s narrative depth and emotional impact.
This ambitious re-imagining of Cathartic Fall offers listeners a transformative experience through its five tracks, which deftly intertwine spoken word with music. Each poem adds layers of introspection, inviting audiences to engage with the universal feelings of loneliness and healing. The album’s launch event, featuring live performances and a collaborative atmosphere, marked a significant moment for both Harris and the featured poets, as they shared in the emotional weight of the work. Notably, 50% of the streaming proceeds from the first ten days were donated to the National Alliance on Mental Illness (NAMI), further emphasizing the album’s commitment to mental health awareness. With this re-release, Jeoff Harris solidifies Cathartic Fall as a vital contribution to the conversation around emotional healing and connection in contemporary music.
:: “New Obsession” – Quiet Houses ::
Mitch Mosk, Beacon, New York
UK duo Quiet Houses have been enchanting us with irresistibly dreamy indie pop music for three years now, and their latest single might just be their dreamiest offering yet: Released October 11th via LAB Records, “New Obsession” is a heavenly, hypnotic reverie channeled into four minutes of sweet, feel-good music. It’s warm and bright, empowering and uplifting, refreshing and radiant all at once – a tune that’s sure to put a smile on the faces of all who listen.
My friends are making fun of me
Don’t know what they’re trying to say
I make all my money, I’ll spend it how I want
I don’t wanna sleep tonight
Cos I can’t get it off my mind
I think i’ll change my number
I think I might move town again
I think I like the sound of that
“The writing process started with a drum loop and a telecaster guitar loop. They both felt energetic and exciting, which probably sparked the idea for the lyric,” the pair of Jamie Stewart and Hannah Elliott tell Atwood Magazine. “The song needed to feel relentless, so we added some Vampire Weekend-style 16th note snare fills. It’s probably our most carefree sounding song, the guitar sound at the end has always made us laugh.”
“This song is about one of our favourite feelings in the world,” they continue. “When you get a new obsession – you discover a new band, artist, series, movie, director etc. that you just can’t get enough of and need to read every article about, and binge watch every YouTube interview on. It makes us feel alive and excited about the world.”
“The song was, in part, inspired by a Netflix documentary about adults trying to become professional mermaids. They subjected themselves to some pretty horrible things and spent all their spare time and money in pursuit of their dream. There was also this lady who sort of ran the mermaiding industry and decided which aspiring mermaids had what it takes to go pro. At first we thought this was all horrific but we realised there were quite a few parallels with our own lives and music careers. Who are we to judge the mermaids and their dreams?”
The songs chorus is as catchy as it is cathartic – an undeniable high that sends our souls soaring sky-high:
Am I coming out tonight?
No I think that’s out of the question
Am I gonna be alright?
Yeah I don’t know what you’re suggesting
Spending all my life inside
I don’t know where you got that impression
Cos I’ve opened up my eyes
I think I gotta new obsession
I get them, I get them
I think I gotta new obsession
I get them, I get them
I think I gotta new obsession
I get them, I get them
I think I gotta new obsession
I get them, I get them
Formed in Edinburgh, Quiet Houses now call London home and are on track to release their second EP in early 2025. Considering the three songs the band have released this year – “New Obsession,” together with the cinematic, late-night anthem “Call You Later” and the dynamic, romantic pop/rock reckoning “What My Heart Is For” – the future is exceptionally bright, and we cannot wait to hear what more musical magic the duo have in store. You might even say we’ve got a new obsession!
I got a production crew
Coming round at quarter to
They wanna film my bedroom
They wanna film my life
Mum said that she wanted to
Be present for the interview
I’m gonna make some money
I’m gonna make her proud again
I think I like the sound of that
Am I coming out tonight?
No I think that’s out of the question
Am I gonna be alright?
Yeah I don’t know what you’re suggesting
Spending all my life inside
I don’t know where you got that impression
Cos I’ve opened up my eyes
I think I gotta new obsession
I get them, I get them
I think I gotta new obsession
I get them, I get them
:: “Impatient” – Buddie ::
Mitch Mosk, Beacon, New York
What really makes Buddie’s latest single such a hit is that not only is it heavy; not only is it hard-hitting; not only is it intense, unapologetic, and unforgiving; but it’s also undeniably catchy! Released October 23rd via Crafted Sounds, “Impatient” is a seismic and seductive alt-rock upheaval from a cog in the machine. It’s a frustration-fueled reckoning with modern living – an infectious and all-consuming anthem through which Dan Forrest and co. channel the weight of a fractured world into our ears, into our hearts, and into our souls.
You feel impatient, going numb
Things are out of control
Slipping out through
Fingers and thumbs
What’s at the surface is sh*t
Take your whole life and spend it underground
You ask “what’s in it for me?”
“Will I come to?”
Angst and anxieties mount in the verses until everything comes spilling out in a cathartic, invigorating chorus. Buddie recall pop/rock greats like Weezer and Blink-182 as they pour their all into both their words and their guitars, making for a moment that is as loud as it is heated:
Wish ya could be running away
Just like back when you were thirteen
Slam the door, run right cross the street
Oh, instead you’re digging up the ground
Up the ground
“‘Impatient’ is about being forced to participate in a broken system,” Buddie’s Dan Forrest tells Atwood Magazine. “It’s doing pointless work to get by, for someone else’s profit, feeling suffocated by it, and looking for a way out. It’s knowing the ways you’re complicit, feeling the weight of these harms, and searching for a different path.”
“It’s a 2-and-a-half-minute grunge pop song to vent your frustrations and find a community of solidarity. The track is two years in the making, the first fully collaborative release by Buddie’s Vancouver lineup after relocating from Philadelphia. It was recorded both with Jay Arner and by Buddie at home, and mixed in-house by Buddie’s own Patrick Farrugia.”
How can we take it?
A broken nose
Like a punch to the face
from the owners of our homes
While we work for our pay
Take our paychecks
And spend ‘em in the hills
While you’re working away
Do you think to?
Nostalgia is a powerful drug, and “Impatient” wields that sword especially well as Buddie dwell in both past and present – wishing things could be simpler, like they used to feel when we were younger, and hoping still to find a solution to our current aches and pains. Solutions are admittedly scarce, but they’ve got us riled up and ready to go – no more digging up the ground, no more taking punches to the face. Channel that impatience into action, break the cycle, and fix the damn system!
Wish ya could be running away
Just like back when you were thirteen
Slam the door, run right cross the street
Oh, instead you’re digging up the ground
Up the ground
:: “Ruminating” – Fraser Morgan ::
Danielle Holian, Galway, Ireland
Fraser Morgan’s latest single, “Ruminating,” marks a poignant addition to the folk-punk genre, reflecting the rising star’s distinctive voice and lyrical vulnerability. The song is a raw exploration of mental health struggles, with Morgan delivering heartfelt narratives that resonate deeply with listeners. His ability to articulate complex emotions through relatable lyrics makes this track particularly impactful. As he opens up about the silent battles of overthinking and self-sabotage, listeners are drawn into an intimate space where they can recognize their own experiences mirrored in his words.
Musically, “Ruminating” successfully marries folk instrumentation with a contemporary edge, featuring strummed acoustic guitars, picked mandolin, and a solid rhythm section that echoes the energy of Morgan’s live performances. The blend of rootsy sounds and catchy melodies allows the song to transcend its folk roots, appealing to a wider audience. Morgan’s charismatic vocal delivery enhances the overall experience, inviting listeners to not only feel but also think deeply about the themes presented. In sharing his personal journey, Fraser Morgan creates a song that is both a refuge and a rallying cry for those grappling with similar feelings, making “Ruminating” a significant entry in his growing discography.
:: If Not in This Life – Lioness ::
Josh Weiner, Washington DC
I’ve been actively listening to hip-hop for ⅔ of my life, but I’ve never encountered tons of African female rappers up until now – Sampa the Great from Zambia being one of the lone exceptions – and certainly none from the sparsely popular desert nation of Namibia come to mind. After being presented with If Not in This Life by Lioness – a Windhoek native who works full-time as a medical doctor but also has made time to record three full-length albums as well – all I can say is: I’m inspired to make up for lost time!
All of the boxes I’m looking to tick when I throw on a hip-hop album were indeed crossed off for me as I engaged in If Not In This Life. The production is total fire, with tons of melodic influences from sub-Saharan influences woven into wondrous effect (“Funk,” as you can guess by its title, makes for a fine case in point in that department!). The guest artists make plenty of valuable contributions and help to further the album’s apparent goal of representing this African region artistically – Azmo Nawe, also from Nambia, and Cleo Ice Queen from next-door Zambia are among the artists who contribute to that cause.
Yet as valuable as production and guest artists are to any rap record, what I’m most looking for is for the artist with their name on the cover to shine the brightest at all. And that’s exactly what the lady born Latoya Lucile Mwoombola achieves. From track to track here, she is able to shift from fiery bar-spitting to melodious crooning with ease – that much bar-spitting to melodious crooning with perfect ease – and Lioness sometimes even in the same track, like on “Pull Up.” Furthermore, there is lots of meaningful subject matter incorporated here, as can be expected from a woman who tends to patients for a living and, having recently become a mother, has also begun caring for a child of her own as of late. Overall, this album makes for an exciting listen to me, not only because it represents a chance to explore a region that I and many other Westerners have never explored much, musically or otherwise, but also because the performer emerging from said region is so fabulously talented and a treat to listen to.
:: “Broken Love” – SACHA ::
Joe Beer, Surrey, UK
SACHA is the musical project of Paris-based multi-instrumentalist, singer-songwriter and producer, Sacha Arnaud. With his upcoming EP, CHANGE OF HEART, crafted with the intentions to deliver something that is truly authentic, the release is set to cover themes of family and identity, starting off with his new single, “Broken Love.” The raw and personal track sees the artist go through a moment of self-reflection, resulting in emotional growth and ultimately closure.
The songwriter confides, “‘Broken Love’ was written about the person I shared my life with at the time but it ended up being about myself really. I projected a lot of things onto her that were my own. This one took longer to write, I struggled to find the right words, I sometimes spent hours not being able to write a single sentence. It was most likely hard to write about myself without knowing it.”
The simplistic instrumentation in “Broken Love” offers deeper intimacy, as rich, mellow, guitars create an all-encompassing atmosphere. His sincere and authentic storytelling delivers a poignant track that will resonate with those who are experiencing a period of introspection.
:: “Wake Up With You” – Mood Bored ::
Mitch Mosk, Beacon, New York
Dutch band Mood Bored’s first song of the year is an intoxicating, infectious indie pop anthem – the kind of song you can’t help but play on repeat, just to feel more of that sweet, seductive sonic sunshine. Released in late September via Mattan Records, “Wake Up With You (WUWU)” aches in the very best ways as the Netherlands-based trio charm their way into our ears and hearts with a feverish, sonically and emotionally charged reverie.
Angst within can still create a feel-good frenzy.
Been lying to myself
thinking i don’t give a f*
I know you’re coming over
I wanna stay up with you
Wanna stay up
dream of pretty pictures
dancing in the club
Lay in bed all day
I wanna wake up
With you
I wanna wake up
“‘Wake Up With You (WUWU)” is one of our first songs ever, and we’ve been playing it since our first show,” Mood Bored – comprised of Myrte Driesenaar (vocals, bass), Daan Stuyven (guitar) and Timo de Wit (drums) – tell Atwood Magazine. “It’s a song about the struggles you have while falling in love with someone new. It’s scary and hard to admit, especially in our day and age, but all you want to do is see this person. You’re afraid of saying the wrong thing or making a fool of yourself, but at the same time want to be completely known and loved.”
“It’s really about the awkwardness of this phase of getting to know someone. When you’re not sure how honest you can be quite yet. I feel like this is very much reflected in the music as well, how cutesy and dancey but also ominous and haunting at times.”
Did I say too much to you
Did I give it away
Did I say too much to you
Did I give it away?
Long ago, someone once sang about how love is a battlefield – and it’s here, in three exhilarating, catchy, and cathartic minutes of angst, uncertainty, and inner upheaval, that we hear how that battle continues to rage within. The push and pull is painful, but it’s beautiful as well – and it’s safe to say that Mood Bored have us hooked. The band’s sophomore EP is set to release in February 2025, so stay tuned for more to come from this enchanting three-piece over the coming months!
Smiling to myself is
Not something that I do
Maybe it’s just a crush
I wanna know all of you
Know all of you
You got me feeling dizzy
Oh baby you are pretty fine
Oh you’re so fine
Did I say too much to you
Did I give it away
Did I say too much to you
Did I give it away?
:: “Renegade” – The Rooks ::
Danielle Holian, Galway, Ireland
Glasgow’s own The Rooks have just released their electrifying new single, “Renegade,” which showcases their signature blend of melody and punk rock intensity. The band has made waves in the local music scene with their fiery live performances, gaining traction through key support slots. With soaring ambitions, they’re now poised to hit the road alongside one of their major influences, indie giants Blossoms, starting October 19th. This exciting opportunity underscores their journey from early jam sessions, where band members debated name choices and shared formative influences, to sharing stages with the artists they admire.
“Renegade” arrives at the perfect moment, serving as a powerful anthem for escapism that captures the raw energy of The Rooks’ live shows. Produced by Grammy Award winner Jim Lowe, the single highlights the band’s palpable confidence and growth as musicians. With its infectious hooks and driving rhythm, “Renegade” not only reflects the band’s dynamic sound but also marks an important step in their evolving career, solidifying their presence on the indie rock landscape.
:: SHE – Natasha Bianca ::
Danielle Holian, Galway, Ireland
Natasha Bianca makes a resounding impact with her debut album SHE, an eight-track collection that transcends traditional pop and R&B boundaries to deliver a powerful anthem of female empowerment. Through her evocative lyrics and soulful melodies, Bianca explores themes of inner strength, self-acceptance, and the audacious challenge against the male-dominated status quo. Tracks like “Boys Club” take a sharp aim at the obstacles women face in patriarchal environments, blending poignant storytelling with an infectious beat that demands attention. The title track, “SHE,” stands as a declaration of resilience, celebrating the journey of women reclaiming their voices amidst societal pressures.
Bianca’s artistry shines as she effortlessly merges genres to create a soundscape that is both fresh and deeply resonant. Her powerful vocals glide through each track, imbuing them with a sense of urgency and authenticity that resonates with listeners. More than just an album, SHE serves as a clarion call for women everywhere, urging them to embrace their power and challenge the limitations imposed upon them. With an upcoming all-female tour across major Australian cities like Adelaide, Melbourne, and Sydney, Natasha Bianca is poised to amplify her message of empowerment and sisterhood through electrifying performances, further solidifying her role as a vital voice in contemporary music.
:: “Technofear” – The Slow Readers Club ::
Mitch Mosk, Beacon, New York
The song may be called “Technofear,” but there’s nothing to be afraid of; not today, at least. The Slow Readers Club’s first song of the year is an exhilarating anthem; a breathtaking beacon of light shining hope and reason down on our modern technological wilderness. “A flicker of light conspires to deceive,” frontman Aaron Starkie sings, his aching, impassioned voice hot on the mic as electric guitars roar and drums pulse a feverish beat all around. “Into my head, into my soul, into my heart, into my very dreams.”
The scene is intense and unrelenting – a musical mirror of today’s chaotic media landscape:
You’re talking too loud
I can’t get no sleep
What do I say
Where do I go
Where am I now
Whom sposed to be
Stand tall, show no fear
Don’t cry, cry no tears
This war has just begun
Don’t bow to anyone
Speaking to Atwood Magazine, Aaron Starkie explains how “Technofear” is “a song about trying to maintain a solid sense of reality in the face in a world where most of our lives are lived online. Social media is a bewildering landscape where truths, half-truths, and outright falsehoods mingle in a dizzying swirl of information. On one hand, it provides unprecedented access to knowledge and perspectives from around the world; on the other, it amplifies conspiracy theories and misinformation, allowing them to spread with alarming speed.”
“The lines between fact and fiction become blurred as echo chambers reinforce people’s beliefs, whether grounded in reality or not,” he continues. “Algorithms, designed to maximize engagement, often prioritize sensationalism over accuracy, making it difficult to distinguish between credible sources and deceptive narratives. In this chaotic environment, the quest for truth becomes more elusive, as certainty gives way to doubt and confusion, leaving us questioning what’s real.”
Out of a dream
I want believe
Didn’t I say
Didn’t I know
Didn’t I stay
Didn’t I find the key
Rivers of doubt
you carved them through me
Into my head
Into my soul
Into my heart
Into my very being
The song’s charged, churning chorus is an inspiring, uplifting moment of hope and humanity. Bleak though these aspects of the present day might be – and while there’s plenty to be worried about, it’s true – The Slow Readers Club keep coming back to a message of resilience, perseverance, and staying power. “Stand tall, show no fear. Don’t cry, cry no tears. This war has just begun; don’t bow to anyone.”
While “Technofear” is without a doubt sounding the alarm bells, it is also an anthem worth singing at the top of our lungs. As the lead single off The Slow Readers Club’s upcoming seventh album Out of a Dream (due out March 14, 2025), it’s a phenomenal look into the Manchester band’s current psyche, and a promising hint at all that’s to come from this next era in the English indie rock band’s decade-long journey.
When everyone you know
Is living by the code
And everyone is broke
Your daddy’s on the dole
Stand tall, show no fear
Don’t cry, cry no tears
This war has just began
Don’t bow to anyone
:: “Tell Me” – Chalk ::
Mitch Mosk, Beacon, New York
Some music stirs us, some music soothes us, and some music sets our very souls on fire. Chalk’s latest single is pure, combustible kerosene manifest in sound: An all-consuming, unapologetically intense post-punk fever dream, “Tell Me” drenches the mind, body, and spirit in heavy, sweaty beats and thick, pulsing bass grooves. This isn’t background music; the Belfast trio demand our undivided attention as they channel visceral angst, raw urgency, and pure inner turmoil into an undeniable, unstoppable sonically and emotionally charged eruption.
“‘Tell Me’ is about running from a dark past,” Chalk frontman Ross Cullen tells Atwood Magazine. “We had the bass loop for track sitting for about a year before we did something with it. I love Paranoid London, and that loop sounded like something they’d come up with. It wasn’t until we went to Iceland to record our EP that it finally became a full song. It felt like a natural blend of sounds from our first two EPs, which excited us.”
Blood, stained my whites
Fire, hold me tight
I was walking by the bridge
She said look here’s the thing
You wanna take me for a ride
I said baby look inside
Tell me, tell me now
Tell me now, tell me
Released October 8th via Nice Swan Recordings, “Tell Me” Chalk’s first song since they put out their sophomore EP Conditions II this past March, and the lead single off their upcoming trilogy ending third EP, Conditions III (coming February 21st, 2025).
“For this track, we conjured up a world in which the song’s protagonist is running away from a dark past into unknown territory, encountering an unsuspecting new acquaintance on their journey,” Cullen explains further. “It’s a song that dives headfirst into themes of the unknown, breaking norms, and a feeling of running away and never wanting to return again. It explores the idea that life is moving rapidly around us and the lack of belonging, confusion, and disassociation one experiences on their journey, growing older in an increasingly discouraging and bleak urban landscape. These are themes of which we’ve scratched the surface with Conditions and Conditions II; but we want to delve even deeper into their grittier sides as we continue to figure ourselves out along the way.”
Born between borders
I was running between borders
Because I wanna go for a ride
Cause I need to look inside
I can’t tell if you’re looking for a normal guy
“Tell Me” takes no prisoners, throwing us headfirst into the dark world of Conditions III as Chalk concoct an irresistible electro-post-punk storm. This song will get the heart racing and the blood pumping – lighting a fire within that burns like nothing we’ve heard this year.
Tell me what you want
Tell me what you need
Tell me what you want…
Tell me now
Just tell me now
Tell me now
Tell me now
:: “Erase You Away” – Trev Peacock ::
Chloe Robinson, California
Relationships and situationships can be messy. Sometimes a breakup is amicable and other times it all goes up in flames. Trev Peacock’s “Erase You Away” is an edgy anthem filled with a deep hurt and pain. The track is also a very empowering one. The bold piece is declaring I do not need you and I will be fine on my own. Lyrics include, “Well here I go and I’m not sorry. Not everyone can handle a Ferrari.” Defiant, punchy vocals glide over a dark electro backdrop for an intoxicating offering that many can connect to. Trev reveals, “We all know what it feels like when someone ghosts you and starts talking sh*t about you. Sometimes, acting like the other person never existed is the ego boost you need.”
An alt singer/songwriter, actor and comedian, Trev Peacock wears multiple hats. He shows full dedication and heart with everything he does. This moody gem “Erase You Away” is a true demonstration of his pure passion. The song, as well as the upcoming album, is produced by Mike Spink (The 1975, Jake Bugg). The release is reminiscent of acts like Twenty One Pilots and Linkin Park while also evoking a unique air that is all his own.
:: “Delusional”- Ceara Cavalleri ::
Julius Robinson, California
Have you ever been out with your friends just having a good time and you are plagued with a person’s unwanted advances? Ceara Cavalleri’s glistening dance single “Delusional” is a confident release about just that. Her sassy vocals soar over a colorful club sound for a daring piece that gets your body moving. “Delusional” has a similar message to Meghan Trainor’s “No.” Cavalleri is reminding others it is empowering when you can stand your ground while also providing a fun, infectious beat.
The alt pop singer/songwriter constructs songs with catchy melodies that instantly grab listeners. She attended UCLA earning a Bachelor’s degree in Psychology, but now pursues music full-time. Cavalleri previously collaborated with Canadian dance DJ/Producer EQRIC on several EDM singles including “Boulevard of Broken Dreams” and “The Cure.” Together those have garnered over 2 million streams. With “Delusional” the artist continues to build momentum, leaving us begging for more.
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