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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
Melting Reeds © 2024
Debut, Music, PremieresFebruary 13, 2024<February 13, 2024

Coaxing, Intimate, & Warm: Melting Reeds Craft Mesmerizing Soundscapes on Debut EP ‘Sundown’

by Jake Fewx
Atwood Magazine's 2024 Artists to Watch
Artist to Watch, Features, Lists, MusicFebruary 12, 2024<February 15, 2024

Atwood Magazine’s 2024 Artists to Watch

by Atwood Magazine Staff
Soren Hansen © David Patino
Debut, Interviews, MusicFebruary 12, 2024<February 12, 2024

“In the end, you just want to feel something”: New Politics’ Søren Hansen Debuts New Solo Project With “Dream That I Die”

by Mitch Mosk
Helenor © Kevin Spies
Music, Music Videos, PremieresFebruary 12, 2024<February 12, 2024

Premiere: Helenor’s New Single “Tattoo” Tells a Story of Spontaneous Permanence

by Olivia Martinez
Posts pagination
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Brand New

  • “I Don’t Sleep Anymore”: Harvey Street Turn Sleepless Nights into an Indie Rock Confession on “Insomnia”
  • “We Just Didn’t Wanna Be Lonely”: Bleachers Drift Through Memory-Laced Americana on “the van,” a Softly Cinematic, Road-Worn Reverie
  • “Girls Like Us Like It Loud”: BERENICE Puts Her People Front & Center on “Everybody Loves Italian Girls,” an Irresistible Pop Anthem for Being Seen in Full
  • “I’m a Maximalist at My Core”: Maya Engen Arrives Breathtaking and Unafraid with “Fool,” a Soulfully Smoldering Debut That Finds Power in Feeling Everything
  • “I’ma Gonna Tell You How It Is”: A Good Hard Look At Primus’ ‘A Handful of Nuggs’ EP
  • “I Think the Dance Floor Is Dead”: Charli xcx’s “Rock Music” Is a Kick-Off into a Dauntless Idea, But Not a Pivot
  • Atwood Magazine’s Weekly Roundup: May 29, 2026

:: discover something new ::

Recent Posts

  • “I Don’t Sleep Anymore”: Harvey Street Turn Sleepless Nights into an Indie Rock Confession on “Insomnia” May 31, 2026
  • “We Just Didn’t Wanna Be Lonely”: Bleachers Drift Through Memory-Laced Americana on “the van,” a Softly Cinematic, Road-Worn Reverie May 30, 2026
  • “Girls Like Us Like It Loud”: BERENICE Puts Her People Front & Center on “Everybody Loves Italian Girls,” an Irresistible Pop Anthem for Being Seen in Full May 29, 2026
  • “I’m a Maximalist at My Core”: Maya Engen Arrives Breathtaking and Unafraid with “Fool,” a Soulfully Smoldering Debut That Finds Power in Feeling Everything May 29, 2026
  • “I’ma Gonna Tell You How It Is”: A Good Hard Look At Primus’ ‘A Handful of Nuggs’ EP May 29, 2026
  • “I Think the Dance Floor Is Dead”: Charli xcx’s “Rock Music” Is a Kick-Off into a Dauntless Idea, But Not a Pivot May 29, 2026
  • Atwood Magazine’s Weekly Roundup: May 29, 2026 May 29, 2026
  • Finding the Way Back: Hudson Ingram on Nostalgia, Growth, and ‘The Long Way Home’ May 28, 2026
  • “Jazz Isn’t a Museum Piece”: Black Nile Cultivate a Bountiful ‘Indigo Garden’ Full of Fresh Jazzy Delights May 28, 2026
  • “When I Pull Your Body Close, It’s Like Ecstasy”: Wake the Wild Bring Dance-Floor Desire to Life in “Satisfaction,” a Sweat-Kissed Funk Reverie May 28, 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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