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Primus 5/25/2022
Concerts, Music, ReviewsJune 2, 2022<June 3, 2022

Live Review: Primus Bring Rush’s ‘A Farewell to Kings’ & Their Own Decades of Hits to Bethlehem

by Guest Writer
Personal Space © Tom Bell
Music, Premieres, ReviewsJune 2, 2022<June 2, 2022

EP Premiere: Personal Space’s Angular, Restless, & Radiant ‘Still Life’ EP

by Mitch Mosk
The Degrees © Chelone Wolf
Music, PremieresJune 2, 2022<June 2, 2022

Premiere: Bristol’s The Degrees Light a Burning Fire in Smoldering & Soulful “Nothing Else”

by Mitch Mosk
Atwood Magazine's Editor's Picks 65
Columns, Editor's Picks, Features, MusicJune 2, 2022<September 29, 2022

Editor’s Picks 65: Chateau Chateau, Sky Ferreira, Sorcha Richardson, Jungle, Ruby Gill, & Sarah Kinsley!

by Mitch Mosk
JayWood © Tonje Thilesen
Columns, Music, Today's SongJune 1, 2022<June 1, 2022

Today’s Song: JayWood’s Soaring & Seductive “Just Sayin” (ft. Ami Cheon) Is an Inspiring Equal Opportunity Anthem

by Mitch Mosk
Caleb Nichols "Jerome" music video still
Music, PremieresJune 1, 2022<June 1, 2022

Premiere: Mean Mr. Mustard Comes to Life As a Queer Icon in Caleb Nichols’ Campy Romp “Jerome”

by Mitch Mosk
"Rich Kids" music video still - Aiyana-Lee
Artist to Watch, Music, Music Videos, PremieresJune 1, 2022<June 1, 2022

Artist-to-Watch: Aiyana-Lee Lights a Fire with Inspiring & Spirited “Rich Kids” Music Video

by Mitch Mosk
Brandon Stansell © Karen Marie Co.
Columns, Music, Pride MonthJune 1, 2022<June 1, 2022

Essay: Brandon Stansell Reflects on His Own “Wild Ride” for Pride Month

by Guest Writer
Ainsley Farrell © Ian Farrell
Music, PremieresMay 31, 2022<May 31, 2022

Premiere: Empathy & Understanding in Ainsley Farrell’s Stunning Return, “The Way Back”

by Mitch Mosk
Waxflower © Mitch Lowe
Music, Music Videos, PremieresMay 31, 2022<May 31, 2022

Video Premiere: Aussie Pop Punks Waxflower’s Achingly Intense Star-Crossed Anthem, “Misaligned Love” ft. Sydney Sprague

by Mitch Mosk
George Gretton © 2022
Music, PremieresMay 31, 2022<May 31, 2022

Premiere: The Moody, Woozy Cabin Fever of George Gretton’s “Morning” ft. theMIND

by Mitch Mosk
nohidea x nujabes
Asian American and Pacific Islander Heritage Month, Columns, MusicMay 31, 2022<May 31, 2022

“How Japanese Artist Nujabes Spawned an Entire Generation of Musicians”: An Essay by nohidea

by Guest Writer
Matt Dorrien © Vincent Bancheri
Columns, Music, Today's SongMay 31, 2022<May 31, 2022

Today’s Song: Matt Dorrien Explores the Melancholy on His Quietly Lovely “That Gets Me Through”

by Beau Hayhoe
Charlie Burg © Dannah Gottlieb
Columns, Music, Today's SongMay 30, 2022<May 30, 2022

Today’s Song: Charlie Burg’s Nostalgic “97 Avalon” Is a Heartfelt Letter to Life & Living

by Rachel Leong
Fergus © Matthew Thorne
Debut, Features, Interviews, Music, Track-by-TrackMay 27, 2022<May 27, 2022

‘Love Upside Down’ (and Inside Out): Fergus Dives into His Stunningly Beautiful Debut Album

by Mitch Mosk
Posts pagination
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Brand New

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

:: discover something new ::

Recent Posts

  • “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
  • “I Needed to Make Something Beautiful as Things Fell Apart”: Maria Taylor Finds Renewal in the Ruins on ‘Story’s End’ 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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