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Hipsy Gap © Lauren Redman
Columns, Music, Today's SongFebruary 15, 2024<February 15, 2024

“Watching as your words unwind”: Brooklyn’s Hipsy Gap “Fantasize” With an Aching Indie Rock Reverie

by Mitch Mosk
Stela Cole © Steve Sparrow
Interviews, MusicFebruary 15, 2024<February 15, 2024

“The only way to break the cycle is to quit cold and never look back”: Stela Cole Bares It All in Her Spine-Tingling “Die Hard”

by Chloe Robinson
Sam Windley © McLean Stephenson
Debut, Features, Interviews, MusicFebruary 15, 2024<February 15, 2024

“Telling a story half-drunk and through song”: Sam Windley Is ‘Pink and Nervous’ on Her Dazzling Debut EP

by Mitch Mosk
NewJeans Get Up © ADOR / HYBE
Music, ReviewsFebruary 15, 2024<February 15, 2024

Track-by-Track: It’s Time to ‘Get Up’ with NewJeans’ Second EP

by Nasya Blackshear
People Who Aren't There Anymore - Future Islands 9.5
Music, Our Take, ReviewsFebruary 15, 2024<February 15, 2024

Our Take: Future Islands Get Vivid & Deep on (Perhaps) a Career-Best Album, ‘People Who Aren’t There Anymore’

by Beau Hayhoe
Minnie Riperton in 1976
Columns, Hidden Gems, MusicFebruary 15, 2024<February 15, 2024

The Transcendent “Les Fleurs” Is Minnie Riperton’s Hidden Gem

by Audrey Connelly
Hunter Oliveri © 2024
Debut, Interviews, MusicFebruary 14, 2024<February 14, 2024

He’s “Spiraling Out”: 17-Year-Old Hunter Oliveri Is Blazing His Own Angsty Grunge Trail

by Mitch Mosk
Fer Franco © Concepción Huerta
Debut, Interviews, MusicFebruary 14, 2024<February 14, 2024

Interview with Fer Franco: An Innovative Guatemalan Composer Finally Claims His ‘Ritos de Paso’

by Josh Weiner
navel grazr © Rita Iovine
Music, Music Videos, PremieresFebruary 14, 2024<February 14, 2024

Premiere: navel grazr’s Cosmic Indie Rock Reverie “Sun Doesn’t Rise” Is a Song of Sonic & Emotional Fuzz

by Mitch Mosk
Hiatus Kaiyote © Rocket Weijers
Columns, Music, Today's SongFebruary 13, 2024<February 13, 2024

Today’s Song: Hiatus Kaiyote Vibe With Relentless Positivity on Wonderful New Single “Everything’s Beautiful”

by Jake Fewx
House of Harm © Eric Bones
Features, Interviews, Music, Track-by-TrackFebruary 13, 2024<February 13, 2024

Intense, Dreamy, & Nostalgic: House of Harm’s ‘Playground’ Is a Dramatic Post-Punk Fun House

by Mitch Mosk
Danielle Durack © Eunice Beck
Features, Interviews, MusicFebruary 13, 2024<February 16, 2024

Time and Space: The Process & Perspective Behind Danielle Durack’s ‘Escape Artist’

by Hannah Burns
Brigitte Calls Me Baby © Scarlet Page
Debut, Features, Interviews, Music, Track-by-TrackFebruary 13, 2024<February 20, 2024

“It’s about the fragility of life”: Brigitte Calls Me Baby’s Honest, Electric, & Vulnerable Debut EP ‘This House is Made of Corners’

by Mitch Mosk
Lizzy McAlpine Ushers in a New Era with Achingly Beautiful "Older" © baeth
Music, Reviews, This Just InFebruary 13, 2024<February 13, 2024

“I wish I knew what the end is”: Lizzy McAlpine Ushers in a New Era with Achingly Beautiful “Older”

by Kelly McCafferty Dorogy
Wynona © Lachlan Chester
Music, PremieresFebruary 13, 2024<February 13, 2024

“I’m spilling out as you’re pouring in”: Wynona’s Romantic Anthem “Kiss Me, Kiss Me” Is an Irresistible Celebration of Love & Connection

by Mitch Mosk
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Brand New

  • “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
  • MONSTA X Rework Their English Sound With a More Personal Edge on ‘Unfold’
  • “Chose Faith Instead of Facing the Past”: Brooklyn’s Myra Lee Erupt with “Magpie,” a Feverish, Slow-Burning Indie Rock Reintroduction
  • “I Know How to Hurt Myself on You”: MUNA Turn Heartbreak into Kinetic Euphoria on “Dancing on the Wall”
  • Editor’s Picks 151: The Temper Trap, Lola Blue, Mount St. Helen, Eliza Edens, Radium Dolls, & Local the Neighbour!

:: discover something new ::

Recent Posts

  • “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
  • Editor’s Picks 151: The Temper Trap, Lola Blue, Mount St. Helen, Eliza Edens, Radium Dolls, & Local the Neighbour! April 1, 2026
  • Today’s Song: Stock Band Return with “Today’s Song,” an Indie Anthem That Checks All the Boxes April 1, 2026
  • “I Just Got My Heart Broken, But I Look F**kin’ Fabulous”: MEEK Breaks Out with “Fabulous,” a Loud, Unapologetic, & Utterly Irresistible Pop Anthem April 1, 2026
  • “I Needed to Make Something Beautiful as Things Fell Apart”: Maria Taylor Finds Renewal in the Ruins on ‘Story’s End’ April 1, 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.

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