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Kareem Ghezawi

Kareem Ghezawi

Lucia Rivero "Nowhere" music video still
Music, Music Videos, PremieresDecember 4, 2025<December 4, 2025

“I’ve heard happiness starts here”: East London’s Lucia Rivero Finds Abundance in Absence on “Nowhere”

Molly Dolphin © 2025
Debut, Music, ReviewsSeptember 22, 2025<September 22, 2025

Unmasked & Unearthed: Molly Dolphin’s ‘Underground River’ Is a Refreshing Burst of Folk in an Era of Manufactured Music

Lucia Rivero © 2024
Debut, Music, Music Videos, PremieresJune 7, 2024<June 7, 2024

Premiere: Just Like Seasons Change, So Do Seasons of the Soul – and for Lucia Rivero, “Winter” Has Arrived

Music, Our Take, ReviewsJune 27, 2019<June 27, 2019

Our Take: Lust for Youth Have Found a Balance Between Their Muses with Their New Self-Titled Album

Disintegration - The Cure Album Art
Features, Music, ReviewsMay 30, 2019<May 30, 2019

Ruminations in the Abyss: A Look Back On The Cure’s ‘Disintegration’ Thirty Years On

IRAH is Stine Grøn (vocals) and Adi Zukanović (keyboards) © Jakob Steen
Columns, Music, Today's SongMay 24, 2019<June 5, 2019

Today’s Song: IRAH Draw From a Mystical Lexicon of Their Own Making in “Siu Hinama”

Readjusting the Locks - Institute
Music, Our Take, ReviewsMay 21, 2019<May 21, 2019

Our Take: Institute’s ‘Readjusting the Locks’ Gives a Firm Middle Finger to the Establishment

Marissa Nadler & Stephen Brodsky - Droneflower Cover Art
Music, Our Take, ReviewsMay 2, 2019<May 2, 2019

Our Take: Marissa Nadler & Stephen Brodsky’s Beautiful, Haunting ‘Droneflower’

Indoor Creature © Kelly Ngo
Music, PremieresApril 30, 2019<April 30, 2019

Premiere: Indoor Creature Allude to Society’s Contradictions with “Paradox”

Destroyer - TR/ST
Music, Our Take, ReviewsApril 19, 2019<April 19, 2019

Our Take: Robert Alfons Bares His Soul on TR/ST’s ‘The Destroyer – 1’

Elle Azar © Ezra Cohen
Columns, Music, Today's SongApril 10, 2019<April 10, 2019

Today’s Song: The Tragedy & Beauty of Ioanna Gika’s Elegant Odyssey “Swan”

Recent Posts

  • “We’re all just friends making music”: Brooklyn’s Anyhow Are an Emerging Indie Rock Duo Built on Collaboration, Trust, & Guitars December 19, 2025
  • Atwood Magazine Presents Mistletones: 2025’s Best New Holiday Songs, Pt. 1! December 19, 2025
  • “I Serve Me. I Take Care of Me. I Am My Keeper”: Medium Build on Surviving the Dream, Choosing Himself, & More Takeaways From a Career-Defining Year December 18, 2025
  • Interview: From Malawi to Massachusetts, The Kasambwe Brothers Are Strumming Their Way to Success December 18, 2025
  • “You Have Me Marked as Nice”: Ski Team Sits With Desire, Restraint, & the Mercy of Boundaries on “Santa” December 18, 2025
  • Atwood Magazine’s 2025 Albums of the Year December 18, 2025
  • “Raw, Experimental, & Definitive”: Low.bō Debuts with a Bruised, Intimate Alt-R&B Reckoning on ‘husk’ December 17, 2025
  • “Anger, Death, & Acceptance”: Adult Mom’s Stevie Knipe Gives Life’s Hardest Feelings a Voice on ‘Natural Causes’ December 17, 2025
  • “None of us are free until all of us are free”: Rick Alverson & Emilie Rex on Making ‘Passages: Artists in Solidarity with Immigrants, Refugees, and Asylum Seekers’ December 17, 2025
  • “It’s Like the Kind of Dream Where You Just Wanna Scream”: Drauve Channel Raw Emotion into Heavy, Shimmering Shoegaze on ‘Timeline’ December 17, 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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