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Prewn © Harry Wohl
Features, Interviews, MusicMarch 24, 2026<March 24, 2026

“Misery’s My Best Friend”: How Prewn Approaches Pain

by Nasim Elyasi
Kamaiyah at the Fox Theater © Ricardo Duncan
Interviews, MusicMarch 24, 2026<March 24, 2026

Ten Years Later, Kamaiyah Is Still Exactly Who She Said She Was

by Ankita Bhanot
Brown Horse © Deva O'Neill
Interviews, Music, Today's SongMarch 24, 2026<March 24, 2026

“I Like the Voices on the Radio”: Brown Horse Capture Isolation, Motion, & the Slow Burn of Reflection on “Twisters”

by Mitch Mosk
Valentina Moretti © 2026
Essays, Music, Women's History MonthMarch 23, 2026<March 25, 2026

“Being a Trans Woman in the Music Industry”: An Essay by Valentina Moretti for Women’s History Month

by Guest Writer
Troy Cartwright © Yve Assad
Interviews, MusicMarch 23, 2026<March 23, 2026

“There’s a point where it’s not up to you anymore”: Troy Cartwright Lets the Songs Take the Wheel on ‘Etc. All The Rest’

by Aileen Goos
Brian Sella © William Macintosh
Debut, Music, ReviewsMarch 23, 2026<March 23, 2026

“Can’t tell if I’m teaching or learning a lesson”: The Front Bottoms’ Brian Sella Looks Inward with Maturity on Debut Solo Album ‘Well I Mean’

by James Crowley
Ray Bull "All That You Are" © Kyle Berger
Interviews, Music, Today's SongMarch 23, 2026<March 23, 2026

“All That You Are Is a Lot”: Ray Bull Find Sweetness in the Spiral on a Catchy, Cathartic Anthem of Indecision

by Mitch Mosk
Coyote Theory © Sara Cross
Features, Interviews, Music, Track-by-TrackMarch 20, 2026<March 20, 2026

‘Talking 2 Strangers’: Coyote Theory Capture the Moment on a Bold EP Fueled by Instinct, Energy, & Raw Emotional Urgency

by Mitch Mosk
Keep Going: Rogér Fakhr’s Long-Awaited Homecoming
Concerts, Music, ReviewsMarch 20, 2026<March 20, 2026

Keep Going: Rogér Fakhr’s Long-Awaited Homecoming

by Nasim Elyasi
Elles Bailey © Blackham Images
Essays, Music, Women's History MonthMarch 20, 2026<March 30, 2026

“Beyond the Numbers: Visibility, Gatekeepers, & the Future of Women in Music”: An Essay by Elles Bailey for Women’s History Month

by Guest Writer
midori jaeger © Inigo Blake
Interviews, Music, Today's SongMarch 20, 2026<March 20, 2026

“I Want Something Unfamiliar, Unpredictable”: midori jaeger Navigates Uprooting, Identity, & the Pull of the Unknown on “exasperate” and ‘(Un)planted’

by Mitch Mosk
Curls Ultra © Andrea Ingrande
Features, Interviews, MusicMarch 20, 2026<March 20, 2026

Music Is a Means of Community for Curls Ultra

by Annaliese Baker
Chet Faker © Sarah Eiseman
Features, Interviews, MusicMarch 20, 2026<March 26, 2026

“I’m in the Middle of the Past and the Future”: Chet Faker Comes Full Circle on ‘A Love for Strangers,’ Returning to Instinct, Curiosity, & the Feeling That Started It All

by Mitch Mosk
Milk & Bone © Samuel Pasquier
Concerts, Music, ReviewsMarch 19, 2026<March 19, 2026

Live Review: Milk & Bone Take Us an Emotional Journey, Dancing All the Way

by Oliver Crook
Re Mattei © 2026
Essays, Music, Women's History MonthMarch 19, 2026<March 19, 2026

“Music Is a Journey, Not a Destination”: An Essay by Re Mattei for Women’s History Month

by Guest Writer
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Brand New

  • “Drama Is Pleasure”: Flare and Fear from Planette Automatic’s Sparkling “Dance Around”
  • “I Loved You Then and I Love You Now”: William Harries Graham Traces the Afterlife of Connection on “NYC,” a Brooding Ambient Folk Reverie from ‘Belrose Motel’
  • “This Time I Intend to Swim”: Satya Comes Home to Herself on ‘Yellow House,’ a Soul-Stirring Debut of Healing, Love, & Release
  • Editor’s Picks 156: Green Gardens, Casper Sage, MUANH, Filiah, Lockimara, & Widemouth!
  • “The Alchemy Is Getting Stronger”: Montreal’s Art-Rock Band Museums Are Well Worth a Visit
  • “Truth Calls Us Back to Who We Were Made to Be”: Watashi Wa Meet Themselves Again on “I Am,” a Radiant Power-Pop Revival of Faith, Identity, & the Divine Spirit
  • “Where’s the Optimist in Me?”: Oakwood Reflect on Bygone Days and Look to the Future on ‘Blurred Away’

:: discover something new ::

Recent Posts

  • “Drama Is Pleasure”: Flare and Fear from Planette Automatic’s Sparkling “Dance Around” June 4, 2026
  • “I Loved You Then and I Love You Now”: William Harries Graham Traces the Afterlife of Connection on “NYC,” a Brooding Ambient Folk Reverie from ‘Belrose Motel’ June 4, 2026
  • “This Time I Intend to Swim”: Satya Comes Home to Herself on ‘Yellow House,’ a Soul-Stirring Debut of Healing, Love, & Release June 4, 2026
  • Editor’s Picks 156: Green Gardens, Casper Sage, MUANH, Filiah, Lockimara, & Widemouth! June 3, 2026
  • “The Alchemy Is Getting Stronger”: Montreal’s Art-Rock Band Museums Are Well Worth a Visit June 3, 2026
  • “Truth Calls Us Back to Who We Were Made to Be”: Watashi Wa Meet Themselves Again on “I Am,” a Radiant Power-Pop Revival of Faith, Identity, & the Divine Spirit June 3, 2026
  • “Where’s the Optimist in Me?”: Oakwood Reflect on Bygone Days and Look to the Future on ‘Blurred Away’ June 3, 2026
  • “I Sang to Fill the Emptiness”: London’s chantel Finds Their Voice on “Into Song Again,” a Tender, Tactile Debut Born of Grief, Belonging, & Return June 3, 2026
  • “A Beautiful, Terrifying Freedom”: Worthitpurchase Turn Precision into Poetry on “Postcard” June 3, 2026
  • “It’s the Modern Way”: Conor Miley Tears Open the Theater of Outrage on “Peepshow,” a Roaring Indie Rock Reckoning for the Algorithmic Age June 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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