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The Crystal Casino Band © Cagla Akcadag
Features, Interviews, Music, Track-by-TrackJanuary 27, 2023<January 29, 2023

Feature: ‘Maryland House’ Is The Crystal Casino Band’s Unconditional Triumph

by Mitch Mosk
Features, Interviews, Music, Track-by-TrackJanuary 27, 2023<January 27, 2023

Feature: Humanity’s Existential Crisis Shines on Tuomo & Markus’ ‘Game Changing’ New Album

by Mitch Mosk
Atwood Magazine's Weekly Roundup | January 27, 2023
Columns, Features, Music, Weekly RoundupJanuary 27, 2023<May 15, 2023

Atwood Magazine’s Weekly Roundup: January 27, 2023

by Atwood Magazine Staff
Gatlin © Luke Rogers
Columns, Music, Today's SongJanuary 27, 2023<January 27, 2023

Today’s Song: Gatlin Wears Her Heart on Her Sleeve & Lets It All Go in New Single “Still Not Me”

by Rachel Leong
We're Here, My Dear - Ging
Debut, Features, Interviews, Music, Track-by-TrackJanuary 26, 2023<January 26, 2023

“Ode to a Love That’s Free”: Ging’s (ex-Frank Dukes) Debut Album ‘We’re Here, My Dear’ Is a Breathtakingly Raw Reckoning

by Mitch Mosk
Abby Holliday © Luke Holliday
Columns, Music, Today's SongJanuary 26, 2023<May 18, 2023

Today’s Song: “Ohio Laundry Room” Is Abby Holliday’s Beautiful, Raw Reckoning with Grief, Love, & Death

by Mitch Mosk
James Crowley © 2023
Music, PremieresJanuary 26, 2023<January 26, 2023

Premiere: James Crowley Lets the Light in on “By You,” a Raw Reckoning Wrapped in Indie Folk Dreams

by Mitch Mosk
L.S. Dunes © Mark Beemer
Debut, Features, Interviews, MusicJanuary 26, 2023<January 26, 2023

Interview: Frank Iero & Tucker Rule Are “Reborn” in Emo Punk Group L.S. Dunes

by Mitch Mosk
Black Honey © Jamie Noise
Features, Interviews, MusicJanuary 26, 2023<January 26, 2023

Sinfully Sweet: Black Honey’s Izzy B. Phillips & Tommy Taylor Recount Their Origins, New Music, and More

by Andrew Daly
the moss © Shervin Lainez
Features, Interviews, MusicJanuary 25, 2023<January 25, 2023

“The Most Honest Song I’ve Ever Written”: An Interview with the moss’ Tyke James

by Miles Campbell
Illiterate Light © Joey Wharton
Columns, Music, Today's SongJanuary 25, 2023<January 25, 2023

Today’s Song: Illiterate Light’s “Fuck LA” and the Endless Ache of Long Distance Love

by Mitch Mosk
Samia © Sophia Matinazad
Features, Interviews, MusicJanuary 25, 2023<January 27, 2023

Interview: Samia Is the Moment with Highly Anticipated Sophomore Album ‘Honey’

by Coco Rich
Cartoon Hearts © Natalia Neira
Debut, Music, PremieresJanuary 25, 2023<January 25, 2023

Premiere: Cartoon Hearts Go ‘All in’ on Debut Single “legs,” a Soaring Anthem of Love, Liberation & Hopeless Romance

by Mitch Mosk
Roanoke © Andrea Belk
Features, Interviews, Music, Reviews, Track-by-TrackJanuary 24, 2023<January 24, 2023

“Enchanting, Nostalgic, & Driving”: Roanoke Find Redemption on ‘Wolf Motel,’ a Stunning Soft Rock Reverie

by Mitch Mosk
Atwood Magazine's Editor's Picks 85
Columns, Editor's Picks, Features, MusicJanuary 24, 2023<March 11, 2023

Editor’s Picks 85: Jake Isaac, Softcult, DAMOYEE, Constant Smiles, Adi Oasis, & Neon Dreams!

by Mitch Mosk
Posts pagination
1 … 226 227 228 229 230 … 741

Brand New

  • Atwood Magazine’s Weekly Roundup: June 23, 2026
  • “Arms Out Wide Like an Aeroplane”: Aquilo Capture Love’s Sweetness on “Under My Skin,” a Sun-Kissed Indie Pop Daydream
  • “I Don’t Owe You a Goddamn Thing”: Lisa Molinaro Claims the Sweetness for Herself on “Peach Fuzz,” a Feverish Indie Rock Eruption of Refusal & Release
  • Ryan Bingham Reinvents Cowboy Country with ‘They Call Us the Lucky Ones’
  • Railbird 2026 Was Derby Roads, Country Music, and a Community Coming Together
  • “I Know I’ve Arrived”: Yan Qing Explores the Weight of Indecision and the Solace of Love on “The Arrival,” an Achingly Honest Acoustic Ballad
  • “Rule Me, Stone Me”: Personal Trainer’s “Punch Drunk Love” Captures the Tender Chaos of Infatuation

:: discover something new ::

Recent Posts

  • Atwood Magazine’s Weekly Roundup: June 23, 2026 June 23, 2026
  • “Arms Out Wide Like an Aeroplane”: Aquilo Capture Love’s Sweetness on “Under My Skin,” a Sun-Kissed Indie Pop Daydream June 23, 2026
  • “I Don’t Owe You a Goddamn Thing”: Lisa Molinaro Claims the Sweetness for Herself on “Peach Fuzz,” a Feverish Indie Rock Eruption of Refusal & Release June 22, 2026
  • Ryan Bingham Reinvents Cowboy Country with ‘They Call Us the Lucky Ones’ June 22, 2026
  • Railbird 2026 Was Derby Roads, Country Music, and a Community Coming Together June 22, 2026
  • “I Know I’ve Arrived”: Yan Qing Explores the Weight of Indecision and the Solace of Love on “The Arrival,” an Achingly Honest Acoustic Ballad June 22, 2026
  • “Rule Me, Stone Me”: Personal Trainer’s “Punch Drunk Love” Captures the Tender Chaos of Infatuation June 22, 2026
  • “All That I Wanted Was You”: Adrian Lyles Sets Love’s Wreckage Ablaze in an Achingly Intimate Reckoning with Heartbreak & Helplessness June 19, 2026
  • “Mixed Sentiments Surrounding June as Designated Month of Celebration”: An Essay by Terri Lyne Carrington June 19, 2026
  • Editor’s Picks 158: Games We Play, Weird Nightmare, Nora Kelly Band, Erotic Secrets of Pompeii, Tooth, & Riley! June 18, 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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