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Casey Dubie © 2022
Features, Interviews, Music, Track-by-TrackApril 27, 2022<April 27, 2022

Feature: Casey Dubie Shines Bright on Sophomore LP ‘Half-Hearted’, an Honest & Reflective Stream of Consciousness

by Mitch Mosk
Sweet Company - Vicky Farewell
Debut, Features, Interviews, Music, Track-by-TrackApril 27, 2022<April 27, 2022

“Sincere, Refreshing, & Effortless”: Vicky Farewell’s Debut Album Is Sun-Soaked ‘Sweet Company’

by Mitch Mosk
Dent May on film © Sophie Prettyman-Beauchamp
Festival, Music, PhotographyApril 26, 2022<April 26, 2022

Gallery: Bands on Film at Treefort 10

by Sophie Prettyman-Beauchamp
Sophia Bel © Will Arcand
Debut, Features, Interviews, Music, Track-by-TrackApril 26, 2022<September 29, 2022

Feature: Sophia Bel Opens Up on Her Stunningly Vulnerable, Transparent & Playful Debut ‘Anxious Avoidant’

by Mitch Mosk
Deer Scout © Felix Walworth
Debut, Features, Interviews, Music, Track-by-TrackApril 26, 2022<May 15, 2022

“Small, Close, & Sentimental”: Inside Deer Scout’s Comforting Debut Album ‘Woodpecker’

by Mitch Mosk
Rosalia © Greg Swales
Music, ReviewsApril 25, 2022<April 25, 2022

Rosalía at the Margins: A Review of ‘Motomami’

by David Buyze
Matchess © Marzena Abrahamik
Music, ReviewsApril 25, 2022<April 25, 2022

Album Review: Matchess’ ‘Sonescent’ Is an Amalgam of Sounds, Space, & Reflection

by Nick Matthopoulos
Atwood Magazine Editor's Picks 60
Columns, Editor's Picks, Features, MusicApril 22, 2022<September 29, 2022

Editor’s Picks 60: Lo, Jo Schornikow, Lisa Remar, Moreton, Katy J Pearson, & néomí

by Mitch Mosk
Atwood Magazine's Weekly Roundup | April 22, 2022
Columns, Features, Music, Weekly RoundupApril 22, 2022<April 22, 2022

Atwood Magazine’s Weekly Roundup: April 22, 2022

by Atwood Magazine Staff
Osees © Sophie Prettyman-Beauchamp
Festival, MusicApril 22, 2022<April 22, 2022

Gallery: Highlights of Treefort 10

by Atwood Magazine Staff
Features, Interviews, MusicApril 21, 2022<May 12, 2023

Interview: Lizzy McAlpine Cuts Deep with Stunning Sophomore LP ‘five seconds flat’

by Nasim Elyasi
Sandman Sleeps © Parisa Farbakhsh
Debut, Features, Interviews, Music, Track-by-TrackApril 21, 2022<April 21, 2022

Track-by-Track: Inside Sandman Sleeps’ Stirring, Honest, & Climatic Debut Album, ‘Crisis Actor’

by Mitch Mosk
SongBook - The Lazy Eyes
Debut, Features, Interviews, Music, Track-by-TrackApril 21, 2022<April 21, 2022

“Explosive, Colourful, & Nostalgic”: The Lazy Eyes Deliver a Kaleidoscopic Psych Rock Revue in Debut ‘SongBook’

by Mitch Mosk
Jon Waltz © Marcus Menefee
Music, ReviewsApril 21, 2022<April 21, 2022

EP Review: On ‘My Golden Horse,’ Jon Waltz Represents the Memphis R&B and Hip-Hop Scene with Equal Finesse

by Josh Weiner
Deanna Petcoff © Nadia Doss
Debut, Features, Interviews, Music, Track-by-TrackApril 21, 2022<April 20, 2022

“Passionate, Cathartic, & Loving”: Deanna Petcoff Soars on Stunning Debut ‘To Hell With You, I Love You’

by Mitch Mosk
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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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