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Kate Butler

Art, ColumnsSeptember 12, 2014<December 7, 2022

Past in Present: Instagram and the Picturesque

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Editor’s Picks 161: Hollow Hand, Noonzy, Nautics, Maggie Miles, Closebye, & Flowers for the Dead! July 23, 2026
“The Fear and Joy of Being Seen”: Oberlin Folk Duo Frontlawn Hold Love and Loss Close on Debut Singles “Jenny Says” and “Commack” July 23, 2026
“I Don’t Wanna Just Be Your Girl”: Jupiter Winter Seizes Her Moment on “Golden Boy,” a Dreamy Indie Pop Reclamation of Ambition July 23, 2026
“I’m Writing This for Me“: Lukas Graham Returns to His Familial Roots With ‘Good Times,’ a Soulful Embrace of Slowing Down and Being Present July 23, 2026
“It’s a Shallow World but I’m a Big Girl Now”: Chess Smith Turns Betrayal into a Pure Pop Celebration on “I’m Dead To You (And That’s OK)” July 23, 2026
“Last Year Is Still All Over Me”: Soft Loft Reckon With Old Ghosts, Bad Timing, and the Gamble of Growing Up Through Restless, Radiant Indie Pop July 22, 2026
“It Seems Too Personal When We’re Not Friends”: Brooke Annibale’s Achingly Sweet “Birthday” Captures the Awkward Afterlife of Friendship July 22, 2026
Our Take: Gracie Abrams Alchemizes Her Pain into a Cathartic Symphony on ‘Daughter from Hell’ July 22, 2026
“I Hate Myself, So I Turn It Into Art”: Medium Build Rips Through Every Defense Mechanism on “Armor,” a Feverish Reckoning with the Terror of Being Known July 21, 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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