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Julianna Toth

On the edge of contemporary.

Art, Features, Interviews, PhotographyMarch 5, 2015<March 5, 2015

A Conversation With Ramon Felix

ArtOctober 30, 2014<January 23, 2023

A Conversation With Adam Vinson

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Recent Posts

“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 April 3, 2026
“SWEET LOVE”: Stephen Sanchez Falls Head Over Heels into a Feel-Good, Heart-on-Sleeve Retro-Pop Anthem April 3, 2026
The Clockworks’ Sophomore Album ‘The Entertainment’ Is Where the Noise Softens and the Truth Slips Through April 3, 2026
MONSTA X Rework Their English Sound With a More Personal Edge on ‘Unfold’ April 3, 2026
“Chose Faith Instead of Facing the Past”: Brooklyn’s Myra Lee Erupt with “Magpie,” a Feverish, Slow-Burning Indie Rock Reintroduction April 2, 2026
“I Know How to Hurt Myself on You”: MUNA Turn Heartbreak into Kinetic Euphoria on “Dancing on the Wall” April 2, 2026
Editor’s Picks 151: The Temper Trap, Lola Blue, Mount St. Helen, Eliza Edens, Radium Dolls, & Local the Neighbour! April 1, 2026
Today’s Song: Stock Band Return with “Today’s Song,” an Indie Anthem That Checks All the Boxes April 1, 2026
“I Just Got My Heart Broken, But I Look F**kin’ Fabulous”: MEEK Breaks Out with “Fabulous,” a Loud, Unapologetic, & Utterly Irresistible Pop Anthem April 1, 2026
“I Needed to Make Something Beautiful as Things Fell Apart”: Maria Taylor Finds Renewal in the Ruins on ‘Story’s End’ April 1, 2026

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.

© Atwood Magazine 2024 For the Love of Music

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