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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<January 28, 2026

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

by Mitch Mosk
fucales © Linn Heidi Stokkedal
Music, PremieresApril 25, 2024<April 25, 2024

“Headfirst, hijack my prophecy”: Bergen’s fucales Whip Up a Nordic Storm on “It Was Decided,” a Sweaty Psychedelic Reverie

by Mitch Mosk
No Doubt's standout performance during weekend two of Coachella 2024 shows that, 30+ years later, the band's chemistry is still very much intact.
Concerts, Festival, Music, ReviewsApril 25, 2024<April 25, 2024

“We are absolutely in the future right now”: Underneath It All, No Doubt Are Still Hella Good

by Emma Rayder
The Tortured Poets Department - Taylor Swift
Features, Music, Reviews, RoundtableApril 25, 2024<June 29, 2024

Roundtable Discussion: A Review of Taylor Swift’s ‘The Tortured Poets Department’

by Atwood Magazine Staff
Sleepwalker © Kate Harrison
Debut, Music, ReviewsApril 25, 2024<April 25, 2024

New Jersey’s Sleepwalker Loses Love to the Night in Debut Single “When the Lights Go Down”

by Chloe Robinson
Gizmo Varillas © Gati Varillas
Music, Reviews, This Just InApril 25, 2024<April 24, 2024

Gizmo Varillas’ Dreamy “Ojos Nuevos” Is an Achingly Beautiful Rite of Passage & Spiritual Cleanse

by Mitch Mosk
THEM © Ericka Clevenger
Columns, Music, Today's SongApril 24, 2024<April 24, 2024

Today’s Song: Seattle’s THEM Emerge With a Grunge-Laced Pop/Rock Fervor on “Can’t Call It Mine”

by Mitch Mosk
Joh Chase © Shervin Lainez
Features, Interviews, Music, Premieres, Track-by-TrackApril 24, 2024<April 24, 2024

Track-by-Track: Joh Chase’s Triumphant & Liberating ‘SOLO’ Album Is a Record of Connection, Self-Assurance, & Life Lived to the Fullest

by Mitch Mosk
I Wonder If The World Knows? - The K's 8.7
Music, Our Take, ReviewsApril 24, 2024<April 24, 2024

“We’re not punk, we’re not indie, we’re not Brit pop”: The K’s Debut With a Raucous Rock Fusion on ‘I Wonder If The World Knows?’

by Christine Buckley
Ginger Winn "Frosting" © Adrianna Newell
Debut, Music, Music Videos, PremieresApril 24, 2024<April 24, 2024

“Pour honey in their ears”: Retired Pastry Chef Ginger Winn’s Sweet Dreams Come True in “Frosting”

by Mitch Mosk
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Brand New

  • Roundtable Discussion: A Review of Harry Styles’ ‘Kiss All The Time. Disco, Occasionally.’
  • Joshua Quimby Is Redefining What It Means to Be Country
  • Melanie Martinez’s ‘HADES’: A Descent into Pop’s Most Unsettling Underworld
  • The Magical Renaissance of U2: A Reflection on ‘Days of Ash’ and ‘Easter Lily’
  • “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
  • “SWEET LOVE”: Stephen Sanchez Falls Head Over Heels into a Feel-Good, Heart-on-Sleeve Retro-Pop Anthem
  • The Clockworks’ Sophomore Album ‘The Entertainment’ Is Where the Noise Softens and the Truth Slips Through

:: discover something new ::

Recent Posts

  • Roundtable Discussion: A Review of Harry Styles’ ‘Kiss All The Time. Disco, Occasionally.’ April 6, 2026
  • Joshua Quimby Is Redefining What It Means to Be Country April 6, 2026
  • Melanie Martinez’s ‘HADES’: A Descent into Pop’s Most Unsettling Underworld April 6, 2026
  • The Magical Renaissance of U2: A Reflection on ‘Days of Ash’ and ‘Easter Lily’ April 6, 2026
  • “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
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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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