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Harry Styles © Johnny Dufort
Music, ReviewsMarch 13, 2026<March 13, 2026

‘Kiss All The Time. Disco, Occasionally.’ Is Harry Styles’ Most Confident Album Yet

by Danielle Holian
Hayden Everett © Jeffrey Brundage
MusicMarch 13, 2026<March 13, 2026

“I’m a Canvas of the Place I’m In”: Hayden Everett Lets the Rain in on “Angela,” a Bittersweet Letter to Los Angeles

by Mitch Mosk
The Favors 'The Dream'
Debut, Features, Interviews, MusicMarch 12, 2026<March 12, 2026

Living ‘The Dream’ with The Favors: Ashe on Forming a Band with FINNEAS and Rediscovering the Joy of Making Music

by Mitch Mosk
The Last Dinner Party 'From the Pyre' album art
Features, Music, Reviews, RoundtableMarch 12, 2026<March 12, 2026

Roundtable Discussion: A Review of The Last Dinner Party’s ‘From the Pyre’

by Atwood Magazine Staff
Reifier © Soledad Violeta
Debut, Features, Interviews, MusicMarch 12, 2026<March 12, 2026

Dreaming in Sound: Reifier on Identity, Dreams, and the Making of ‘The Unfolding’

by Nicolle Knapová
Florentenes "Madeline" © Sam Crowston
Interviews, Music, Today's SongMarch 12, 2026<March 12, 2026

Living in the Moment with Florentenes’ Roaring Indie Rock Anthem “Madeline”

by Mitch Mosk
Nory © Lucy Billington
Debut, Features, Interviews, MusicMarch 11, 2026<March 11, 2026

“A Middle Finger to Music as We Know It”: Nory Embraces Tension, Recklessness & Raw Truth on ‘F**K THAT THIS THE RHYTHM’

by Mitch Mosk
I’ll Never Be A Stranger: A young and blue Billy Joel mugs for the camera © Aidan Moyer
Film, Music, ReviewsMarch 11, 2026<March 11, 2026

You’ve Got Me Hummin’: No Hassle to Hear Early Billy Joel Melodies in New Doc, ‘And So It Goes’

by Aidan Moyer
Human Potential
Essays, MusicMarch 11, 2026<March 11, 2026

“An Elegy for L. Skell”: An Essay by Human Potential’s Andrew Becker

by Guest Writer
Happy Landing © Orchee Sorker
Interviews, Music, Today's SongMarch 11, 2026<March 11, 2026

“Make That Money, Baby, Dig Your Grave”: Happy Landing Tear into the Myth of the American Dream on “The American Way”

by Mitch Mosk
Dolphins on Acid © 2026
Features, Interviews, MusicMarch 10, 2026<March 10, 2026

Dolphins on Acid Are Rediscovering the Tried-and-True Path to Success in Their Own Surf-Fueled Way

by Jason Bauer
Kim Petras © 2026
Features, Music, ReviewsMarch 10, 2026<March 10, 2026

With ‘Pretour,’ Kim Petras Fights to Share Her Bold New “Pop Sound”

by Guest Writer
Philine Sonny Unleashes Raw Fury on “Outrun,” a Ferocious Alt-Rock Reckoning © Emil Gentes
Interviews, Music, Today's SongMarch 10, 2026<March 10, 2026

“Echo Chamber, Promise Breaker”: Philine Sonny Unleashes Raw Fury on “Outrun,” a Ferocious Alt-Rock Reckoning

by Mitch Mosk
Atwood Magazine's 149th Editor's Picks!
Columns, Editor's Picks, Features, MusicMarch 9, 2026<March 9, 2026

Editor’s Picks 149: MEEK, Ray Bull, The Maine, Soda Blonde, Silverdeer, & Noshows!

by Mitch Mosk
Almost Heaven © Kylie Bly
Debut, Features, Interviews, MusicMarch 9, 2026<March 10, 2026

“We Came, We Saw, We Partied”: Almost Heaven Debut with a Sweaty and Feverish Disco Ball Haze on ‘RAW CRANIUM’

by Mitch Mosk
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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