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Mia Martina © 2026
Essays, Music, Women's History MonthMarch 13, 2026<March 14, 2026

“When the Song Becomes Bigger Than the Artist”: An Essay by Mia Martina for Women’s History Month

by Guest Writer
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
Posts pagination
1 … 14 15 16 17 18 … 737

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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