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James Meadows

James Meadows

Julien Baker Red Door
Music, ReviewsJune 26, 2019<June 26, 2019

Review: Julien Baker’s Modern Gospel in “Red Door / Conversation Piece”

Sticky Fingers - Yours to Keep Album Art
ReviewsFebruary 27, 2019<February 28, 2019

Review: Sticky Fingers Pull Back the Veil in ‘Yours to Keep’

The Britanys © Aysia Marotta
Features, Interviews, Mixtape, MusicDecember 12, 2018<December 12, 2018

Experimentation, Technology, and Interactive Album Art: A Conversation with The Britanys

Unknown Mortal Orchestra © Neil Krug
Columns, Music, Today's SongJuly 13, 2018<July 16, 2018

Today’s Song: The Honey-Glazed Ode of Unknown Mortal Orchestra’s “Hunnybee”

Luca Brasi © Kane Hibberd
Music, ReviewsJune 27, 2018<June 27, 2018

Review: Accepting Loss & Bittersweet Memories in Luca Brasi’s ‘Stay’

Hobo Johnson & The LoveMakers
Editorials, MusicApril 17, 2018<April 17, 2018

The Art of Manic Poetry: Hobo Johnson & The LoveMakers

Mica Tenenbaum of Magdalena Bay © Nicole Almeida
Debut, Features, Interviews, MusicMarch 15, 2018<December 21, 2024

Talking Retro Pop and Vintage Film: A Conversation with Magdalena Bay

Hockey Dad © Joseph Crackett
Music, Our Take, ReviewsFebruary 26, 2018<February 26, 2018

Our Take: The Pain of Nostalgia and Fame on Hockey Dad’s ‘Blend Inn’

Saturation III - BROCKHAMPTON
Music, Our Take, ReviewsJanuary 5, 2018<February 20, 2018

Our Take: BROCKHAMPTON’s ‘Saturation III’ Refines Their All-Caps Ethos of DIY Creativity

Daniel Caesar © 2016
Columns, Music, Today's SongDecember 6, 2017<September 20, 2023

Today’s Song: Lost Love & Sadness in Daniel Caesar’s “Japanese Denim”

Recent Posts

  • “I Love Weird Sounds with a Lot of Texture”: Fig Tape Serves Up ‘Forcefed Serenity,’ a Genre-Blurring Fever Dream December 5, 2025
  • Today’s Song: Vân Scott’s “Turn Off the Tears” Is an Expansive Anthem of Resilience & Unshakable Spirit December 5, 2025
  • “I’ve heard happiness starts here”: East London’s Lucia Rivero Finds Abundance in Absence on “Nowhere” December 4, 2025
  • “What a Beautiful Thing”: Dijon Triumphs with ‘Baby,’ an All-Consuming Fever Dream of Love, Devotion, & the “Mania of Domesticity” December 4, 2025
  • “Hope Isn’t This Constant Flame; It Flickers a Bit”: Amanda Bergman on Musical Acts of Protest, Refusing to Go Numb, and Staying Grounded in a World Coming Undone December 4, 2025
  • “There Is No Right Path”: Katelyn Tarver on Choosing Herself and Becoming the Example That Was Missing December 4, 2025
  • “We’re Coming Home Again”: Of Monsters and Men Reset, Reconnect, & Rediscover Themselves on the Communal Odyssey of ‘All Is Love and Pain in the Mouse Parade’ December 3, 2025
  • “I Want to Be Able to Speak Openly About What Hurts”: Marem Ladson Confronts Her Past & Finds Her Voice on “Cavity,” a Dreamy Indie Folk Reverie December 3, 2025
  • “I’m Not the Bootleg Version of Any Artist”: Gabriel Jacoby Stakes His Claim with Swagger, Sweat, and Southern Fire on ‘gutta child’ December 3, 2025
  • “Love Is Not the Antidote”: Dove Ellis Reckons with Love’s Limits on “Love Is,” an Aching & Unrestrained Unraveling December 3, 2025
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Disclaimer: Atwood Magazine is a publication dedicated to celebrating fresh voices in music, culture, and the arts. The views and opinions expressed in our articles, reviews, and interviews are those of the individual writers and do not necessarily reflect the opinions of Atwood Magazine as a whole.

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