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ANDRO © Jakub Koziel
Columns, Music, Today's SongNovember 3, 2022<October 30, 2022

Former Jungle Vocalist ANDRO Opens Up in Soul-Stirring “Natural,” a Buoyant & Brooding Embrace of Intimacy

by Mitch Mosk
The Backseat Lovers © Allyson Lowry
Features, Interviews, MusicNovember 3, 2022<November 2, 2022

Waiting to Spill: Exploring Intention & Emotion with The Backseat Lovers

by Jamie Kahn
ella jane © Paris Mumpower
Features, Interviews, Music, Track-by-TrackNovember 2, 2022<November 2, 2022

Feature: ella jane’s Coming-of-Age ‘Marginalia’ Is a Youthful, Melancholic, & Cinematic Masterpiece

by Mitch Mosk
Frankie Morrow © 2022
Debut, Features, Music, Reviews, Track-by-TrackNovember 2, 2022<November 2, 2022

From the Heart: Scotland’s Frankie Morrow Debut with Enchanting & Cathartic ‘Blue Parrot Backpackers Hostel’ EP

by Mitch Mosk
Loviet © Ryan Perry
Artist to Watch, Columns, Music, Today's SongNovember 2, 2022<November 2, 2022

Today’s Song: Loviet’s Searing “Wide Eyes” Is an Emotionally Charged Love Letter with Teeth

by Mitch Mosk
American Bollywood - Young the Giant
Features, Interviews, MusicNovember 1, 2022<February 22, 2023

American Bollywood: Young the Giant’s Epic & Intimate Fifth Album Unpacks Identity, Belonging, Home, & the Immigrant Story

by Mitch Mosk
Melby © AUK
Features, Interviews, Music, Track-by-TrackNovember 1, 2022<November 1, 2022

Feature: Stockholm’s Melby Dwell in the Past, Present, & Future on Stirring Sophomore LP ‘Looks like a map’

by Mitch Mosk
Daisy the Great © Eva Smittle
Features, Interviews, Music, Track-by-TrackNovember 1, 2022<November 1, 2022

“Big Feelings in Little Moments”: Daisy the Great Stun with Harmony & Hope on ‘All You Need Is Time’

by Mitch Mosk
When The Wind Forgets Your Name - Built to Spill
Features, Interviews, MusicNovember 1, 2022<March 11, 2023

Interview: Built to Spill Embody the Indescribable on ‘When the Wind Forgets Your Name’

by Sophie Prettyman-Beauchamp
Asylums © Alistair Underwood
Artist to Watch, Features, Interviews, Music, Track-by-TrackNovember 1, 2022<March 11, 2023

Trauma, Defiance, & Hope: UK’s Asylums Soar Triumphant on 4th LP, ‘Signs of Life’

by Mitch Mosk
Olivia Dean © PETROS
Columns, Music, Today's SongNovember 1, 2022<October 30, 2022

Olivia Dean’s “Danger” Ignites Lush Soundscapes & Self-Empowerment While Falling Straight into Love

by Rachel Leong
Atwood Magazine's Editor's Picks 78
Columns, Editor's Picks, Features, MusicOctober 31, 2022<March 11, 2023

Editor’s Picks 78: Connie Constance, Lyves, ToBy, Holly Humberstone, Hayden Everett, & Runnner!

by Mitch Mosk
Alison Sudol © Angela Kohler
Debut, Features, Interviews, MusicOctober 31, 2022<October 31, 2022

Shades of Grief: Alison Sudol on the Inspirations Behind New Album ‘Still Come the Night’ & the Importance of Making Space for Loss

by Emily Frances Algar
Babehoven © Jessica Chappe
Debut, Music, ReviewsOctober 31, 2022<October 31, 2022

Review: Babehoven’s Debut Album ‘Light Moving Time’ Fearlessly Takes on Difficult Themes

by Kevin Krein
Sophie Faith © Toby Corton
Columns, Music, Today's SongOctober 31, 2022<October 29, 2022

London’s Sophie Faith Aches in All the Right Ways on Soulful & Smoldering “Heart Is on My Sleeve”

by Mitch Mosk
Posts pagination
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Brand New

  • 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’
  • “Chose Faith Instead of Facing the Past”: Brooklyn’s Myra Lee Erupt with “Magpie,” a Feverish, Slow-Burning Indie Rock Reintroduction
  • “I Know How to Hurt Myself on You”: MUNA Turn Heartbreak into Kinetic Euphoria on “Dancing on the Wall”

:: discover something new ::

Recent Posts

  • 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
  • Today’s Song: Stock Band Return with “Today’s Song,” an Indie Anthem That Checks All the Boxes April 1, 2026
  • “I Just Got My Heart Broken, But I Look F**kin’ Fabulous”: MEEK Breaks Out with “Fabulous,” a Loud, Unapologetic, & Utterly Irresistible Pop Anthem 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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