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Oneohtrix Point Never © Joseph Buscarello
A Casual Ramble, Columns, Concerts, Music, ReviewsApril 29, 2024<April 30, 2024

A Casual Ramble: Oneohtrix Point Never Live at Portland’s Wonder Ballroom

by Ben Niesen
Pomme 'Saisons' © Lawrence Fafard
Features, Interviews, MusicApril 29, 2024<April 29, 2024

“I didn’t want to be the main girl or the hero”: Pomme Takes Time to Watch the Seasons Bloom in Modern Opera, ‘Saisons’

by Olivia Martinez
Peter Frampton © Austin Lord
Editorials, Features, MusicApril 29, 2024<April 29, 2024

Essay: The Parable of Peter Frampton

by Guest Writer
steinza © courtesy of the artist
Artist to Watch, Columns, Music, ReviewsApril 29, 2024<April 28, 2024

Artist to Watch: Steinza Says the Quiet Parts Out Loud in “Visions of You,” an Achingly Intimate Folk Rock Singalong

by Mitch Mosk
Wyatt C. Louis © Vanessa Heinsedit
Columns, Music, Today's SongApril 28, 2024<April 27, 2024

Today’s Song: Wild Pink Teams With Wyatt C. Louis on Lovely “Oh Vibrant Sky,” a Soft & Sweet Folk Dream

by Beau Hayhoe
Sean Ono Lennon and James McCartney originally shared this selfie in August of 2018, captioned “peekaboo.” McCartney held a guitar under his arm, forecasting their recent collaboration for his forthcoming album © Aidan Moyer
Columns, Music, Today's SongApril 27, 2024<April 27, 2024

Another Lennon-McCartney Original: James McCartney Teams with Sean Ono Lennon on “Primrose Hill”

by Aidan Moyer
Pacifica © Mateo Gonzáles
Debut, Features, Interviews, Music, Track-by-TrackApril 26, 2024<April 26, 2024

“Laughing at the life we’re wasting”: Argentine Indie Sleaze Duo Pacifica Are Unleashed on Debut ‘Freak Scene’

by Mitch Mosk
Atwood Magazine's Weekly Roundup | April 26, 2024
Columns, Features, Music, Weekly RoundupApril 26, 2024<May 5, 2024

Atwood Magazine’s Weekly Roundup: April 26, 2024

by Atwood Magazine Staff
Good Morning © Pooneh Ghana
Features, Interviews, MusicApril 26, 2024<April 26, 2024

They’re “happy just being here”: Good Morning’s ‘Good Morning Seven’ Finds Music in Life’s Mundanity

by Sofia Sar
Fontaines D.C. © Theo Cottle
Music, Reviews, This Just InApril 26, 2024<April 28, 2024

“Starburster”: Like an Iron Butterfly, Fontaines D.C. Are Delicate & Indestructible

by Hamish Monk
Teddy Swims © Sophie Elgort
Features, Interviews, MusicApril 26, 2024<April 26, 2024

Stepping into the Spotlight: Teddy Swims’ Journey to a Bigger Stage

by Guest Writer
BAILEN © Erica Snyder
Interviews, MusicApril 26, 2024<April 26, 2024

“There’s something both awful and liberating about it”: NYC’s BAILEN Are Crying on the Subway, but “You Would Never Know”

by Mitch Mosk
Ocean Alley 'Low Altitude Living" © Kane Lehanneur
Features, Interviews, MusicApril 25, 2024<April 25, 2024

Interview: Ocean Alley Are Touching Back Down in Your City

by Blake McMillan
Wifey © Owen Bigler
Columns, Debut, Music, Today's SongApril 25, 2024<April 25, 2024

Today’s Song: Wifey’s “Mary Ann Leaves the Band” Is a Fun, Dumb, and Instantly Memorable Pop/Rock Debut

by Mitch Mosk
Yot Club © Ariel Fisher
Features, Interviews, MusicApril 25, 2024<April 25, 2024

“Bigger and Bolder and Louder”: Yot Club’s Ryan Kaiser Invites Us into the Wonderful World of ‘Rufus’

by Mitch Mosk
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Brand New

  • “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
  • Interview: From Malawi to Massachusetts, The Kasambwe Brothers Are Strumming Their Way to Success
  • “You Have Me Marked as Nice”: Ski Team Sits With Desire, Restraint, & the Mercy of Boundaries on “Santa”
  • Atwood Magazine’s 2025 Albums of the Year
  • “Raw, Experimental, & Definitive”: Low.bō Debuts with a Bruised, Intimate Alt-R&B Reckoning on ‘husk’
  • “Anger, Death, & Acceptance”: Adult Mom’s Stevie Knipe Gives Life’s Hardest Feelings a Voice on ‘Natural Causes’
  • “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’

:: discover something new ::

Recent Posts

  • “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
  • Today’s Song: The Barons Channel the Strength of Authentic Human Interaction in “Way Out” December 17, 2025
  • “We Have Fun, and That’s It”: Underbrook Are on the Way Up With ‘Was Happiness Too Boring for You?’ December 16, 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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