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Driving along the coast © Jadon Calvert
Essays, MusicJanuary 6, 2026<January 6, 2026

Essay: Damn You, Music

by Joe McAvoy
Annika Bennett © Caity Krone
Features, Interviews, MusicJanuary 6, 2026<January 6, 2026

Learning to Witness Yourself: Annika Bennett on the Intimacy, Permission, and Surrender of ‘Triple Shooting Star’

by Kelly McCafferty Dorogy
Collage created by Randall Cornish. Chuck Berry image: Creative Commons, Public Domain. Beethoven image: Gordon Johnson from Pixabay.
Essays, MusicJanuary 6, 2026<January 5, 2026

Essay: Roll Over Beethoven, Tell Tchaikovsky the News!

by Guest Writer
DM Arthur © 2025
Interviews, Music, Today's SongJanuary 6, 2026<January 6, 2026

“Wash the Damage Off”: DM Arthur Embraces Resilience, Release, and Renewal on Feel-Good “Fire & Soap”

by Mitch Mosk
Natalie Jane © Lili Skyler
Features, Interviews, MusicJanuary 5, 2026<January 11, 2026

“I Finally Feel Like I Had Something to Say”: Natalie Jane on the World She Didn’t Want, and the One She’s Creating

by Nicolle Knapová
Girl Scout © Lamia Karic
Interviews, Music, Today's SongJanuary 5, 2026<January 12, 2026

“If You Go, I Go, Forever”: Stockholm’s Girl Scout Find Kinship, Conviction, & Belonging on “Same Kids”

by Mitch Mosk
Atwood Magazine's Best Songs of 2025!
Features, Lists, MusicDecember 31, 2025<January 2, 2026

Atwood Magazine’s 2025 Songs of the Year

by Atwood Magazine Staff
Alex Breitling © 2025
Columns, Music, Today's SongDecember 31, 2025<December 31, 2025

Today’s Song: Come Plunge into the Coral Reef (in Your Mind, Anyways) via Alex Breitling’s Immersive “Eternity”

by Josh Weiner
Atwood Magazine's 142nd Editor's Picks!
Columns, Editor's Picks, Features, MusicDecember 30, 2025<December 30, 2025

Editor’s Picks 142: spill tab, praise., Francis of Delirium, Boyish, Quarters, & Wishlist!

by Mitch Mosk
Telescreens © Monty Hamm
Interviews, Music, Today's SongDecember 30, 2025<December 28, 2025

“Screaming Together Is How We Feel Less Alone”: NYC’s Telescreens Turn Numbness into Communal Release on “Nothing”

by Mitch Mosk
Queen Quail "Narcissus" © Celeste Call
Debut, Interviews, Music, Today's SongDecember 29, 2025<December 28, 2025

“You Have to Sit With Uncomfortable Feelings”: Queen Quail Transforms Ache into Resilience on “Southside,” a Smoldering, Slow-Burning Reckoning

by Mitch Mosk
Bartees Strange © William Minke
MusicDecember 29, 2025<December 28, 2025

“These Are Simply Songs I Love”: Bartees Strange Follows His Own Instincts on ‘Shy Bairns Get Nowt,’ an EP About Love, Legacy, & Becoming

by Mitch Mosk
JERUB 'The Wonder Years' © 2025
Features, Interviews, MusicDecember 29, 2025<December 28, 2025

“Maybe These Are the Wonder Years”: JERUB Embraces Presence, Uncertainty, & Becoming on His Spirited, Soul-Searching Mixtape

by Mitch Mosk
Atwood Magazine's 141st Editor's Picks!
Columns, Editor's Picks, Features, MusicDecember 23, 2025<December 23, 2025

Editor’s Picks 141: Witch Post, DM Arthur, TOLEDO, Sly Jr., Chelsea Jordan, & Lucia!

by Mitch Mosk
Hudson Freeman © Sophie B
Artist to Watch, Features, Interviews, Music, Today's SongDecember 22, 2025<December 22, 2025

“Our Personal Algorithms Have Us All Spinning Out”: Hudson Freeman on “If You Know Me” & His Search for Good Faith Human Connection

by Mitch Mosk
Posts pagination
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Brand New

  • 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
  • MONSTA X Rework Their English Sound With a More Personal Edge on ‘Unfold’

:: discover something new ::

Recent Posts

  • 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
  • Editor’s Picks 151: The Temper Trap, Lola Blue, Mount St. Helen, Eliza Edens, Radium Dolls, & Local the Neighbour! 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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