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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

  • “Leave Any Sense of Ego at the Door”: Post Sex Nachos Are Your Favorite Rock Band September 30, 2026
  • Roundtable Discussion: A Review of Vince Staples’ ‘Cry Baby’ September 30, 2026
  • Album Review: The Aching Luminescence of Ghostly Kisses’ ‘Across the Pond’ September 30, 2026
  • “I Would Push Up Daisies for You”: The Madelines Go All In on “Amy,” a Restless Debut Brimming with Indie Rock Firepower September 30, 2026
  • “This Record Is a Departure into My Real Life”: Aubory Bugg Embraces Life’s Messy Changes on Her Breathtakingly Beautiful Indie Folk Debut September 29, 2026
  • “The Final Three Songs Are Like Being Shot Three Times”: Sibling Duo Wasia Project Yearn for Closeness on ‘Nocturne,’ a Late-Night Debut About Loneliness & Connection September 29, 2026
  • Our Take: Bolden. Take Bold Strides into Jazz Fusion with the Sleek, Sultry ‘Who you really are.’ September 29, 2026
  • “A More Open and Honest SNACKTIME”: Philadelphia Favorites Bring Their Live Energy & Widescreen Ambition to “Can’t Imagine Why You’d Stay” September 28, 2026
  • “More People Equals More Life”: Martin Luke Brown’s Joyfully Chaotic ‘life & death etc’ Is a Hazy, Soulful Celebration of Feeling Everything September 28, 2026
  • “My Last Breath Would Be a Poem for You”: Peter Stone Finds the Sacred in Everyday Love on “Dust Motes,” a Sun-Soaked Indie Folk Reverie September 28, 2026
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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.

© Atwood Magazine 2024 For the Love of Music
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