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Sun Room © Kelly Hammond
Columns, Music, Today's SongJanuary 11, 2023<January 11, 2023

Today’s Song: Sun Room’s Fast & Loud “Cadillac” Is a Euphonious Time Machine

by Lilly Eason
Jo-Jo & The Teeth © 2022 7.1
Debut, Music, Our Take, ReviewsJanuary 10, 2023<January 10, 2023

Our Take: Brace Yourself for Jo-Jo & The Teeth’s High Octane Debut Album, ‘No More Good News’

by Dominic Kureen
Christmas is Canceled - Mikey Mike
Columns, Music, Today's SongJanuary 10, 2023<January 10, 2023

Mikey Mike Speaks on the Absurdity of Today’s World on “Christmas Is Canceled”

by Nick Polak
Atwood Magazine's Editor's Picks 83
Columns, Editor's Picks, Features, MusicJanuary 9, 2023<March 11, 2023

Editor’s Picks 83: Kids That Fly, Gordi, Brian Dunne, OTNES, Tommy Ashby, & Maya Delilah!

by Mitch Mosk
Ester's Anna Holmquist © Ash Dye
Columns, Music, Today's SongJanuary 9, 2023<August 28, 2023

The Lonely, Heavy Weight of Ester’s Lockdown Song, “Red Rover”

by Mitch Mosk
LIFE © Luke Hallett
Features, Interviews, Music, Track-by-TrackJanuary 7, 2023<March 11, 2023

Feature: LIFE’s Intimate, Expansive, & Brooding ‘North East Coastal Town’ Is a Post-Punk Love Letter Home

by Mitch Mosk
The Snuts © Edward Cooke
Features, Interviews, MusicJanuary 6, 2023<January 6, 2023

Interview: The Snuts Guitarist Joe McGillveray Muses on His Musical Past, Present, & Future

by Andrew Daly
Peach Pit © Mackenzie Walker
Columns, Music, Today's SongJanuary 6, 2023<January 6, 2023

Today’s Song: “Up Granville” Is Peach Pit’s Ode to the Woes of Solitude

by Miles Campbell
La Femme © JD Fanello
Features, Interviews, MusicJanuary 5, 2023<January 10, 2023

Feature: The Escapist Fantasy of La Femme’s ‘Teatro Lúcido’

by Lilly Eason
Tommy Newport © courtesy of the artist
Columns, Music, Today's SongJanuary 5, 2023<January 5, 2023

Today’s Song: Delving into Genre-Blending Euphony with Tommy Newport & Jazz Cartier’s Latest Offering “Jackpot”

by Joe Beer
Marketa Irglova © Lena Bushart
Features, Interviews, MusicJanuary 5, 2023<January 17, 2023

Interview: Markéta Irglová’s Roots Go Deep on Beautifully Vulnerable Album ‘Lila’

by Nasim Elyasi
EMELINE © Andrea Riba
Features, Interviews, MusicJanuary 4, 2023<January 5, 2023

“It Felt Like a Birth”: EMELINE on Her Explosive Debut and Latest Single, “Venting to Strangers”

by Nic Nichols
SOS - SZA 8.6
Music, Our Take, ReviewsJanuary 4, 2023<September 20, 2023

Our Take: SZA Shines on Outstanding Sophomore Album ‘SOS’

by Josh Weiner
The Lemon Twigs © Eva Chambers
Columns, Music, Today's SongJanuary 4, 2023<January 4, 2023

Today’s Song: The Lemon Twigs Declare Love at Second Sight with New Single, “Corner of My Eye”

by Sophie Severs
Atwood Magazine's 2022 Albums of the Year
Features, Lists, MusicDecember 21, 2022<December 21, 2022

Atwood Magazine’s 2022 Albums of the Year

by Atwood Magazine Staff
Posts pagination
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Brand New

  • “Change Lies at Your Footsteps”: Vienna Vienna Turns Overstimulation into Motion on “Idle Hands”
  • “This Is What It Feels Like to Not Feel Anything”: Petey USA on Turning Private Thoughts into Shared Space & the Fictional Truths of ‘The Yips’
  • “We’re all just friends making music”: Brooklyn’s Anyhow Are an Emerging Indie Rock Duo Built on Collaboration, Trust, & Guitars
  • Atwood Magazine Presents Mistletones: 2025’s Best New Holiday Songs, Pt. 1!
  • “I Serve Me. I Take Care of Me. I Am My Keeper”: Medium Build on Surviving the Dream, Choosing Himself, & More Takeaways From a Career-Defining Year
  • Interview: From Malawi to Massachusetts, The Kasambwe Brothers Are Strumming Their Way to Success
  • “You Have Me Marked as Nice”: Ski Team Sits With Desire, Restraint, & the Mercy of Boundaries on “Santa”

:: discover something new ::

Recent Posts

  • “Change Lies at Your Footsteps”: Vienna Vienna Turns Overstimulation into Motion on “Idle Hands” December 20, 2025
  • “This Is What It Feels Like to Not Feel Anything”: Petey USA on Turning Private Thoughts into Shared Space & the Fictional Truths of ‘The Yips’ December 19, 2025
  • “We’re all just friends making music”: Brooklyn’s Anyhow Are an Emerging Indie Rock Duo Built on Collaboration, Trust, & Guitars December 19, 2025
  • Atwood Magazine Presents Mistletones: 2025’s Best New Holiday Songs, Pt. 1! December 19, 2025
  • “I Serve Me. I Take Care of Me. I Am My Keeper”: Medium Build on Surviving the Dream, Choosing Himself, & More Takeaways From a Career-Defining Year December 18, 2025
  • Interview: From Malawi to Massachusetts, The Kasambwe Brothers Are Strumming Their Way to Success December 18, 2025
  • “You Have Me Marked as Nice”: Ski Team Sits With Desire, Restraint, & the Mercy of Boundaries on “Santa” December 18, 2025
  • Atwood Magazine’s 2025 Albums of the Year December 18, 2025
  • “Raw, Experimental, & Definitive”: Low.bō Debuts with a Bruised, Intimate Alt-R&B Reckoning on ‘husk’ December 17, 2025
  • “Anger, Death, & Acceptance”: Adult Mom’s Stevie Knipe Gives Life’s Hardest Feelings a Voice on ‘Natural Causes’ December 17, 2025
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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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