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Mr. Morale & the Big Steppers - Kendrick Lamar © Renell Medrano 8.7
Music, Our Take, ReviewsMay 26, 2022<May 26, 2022

Our Take: Kendrick Lamar Emerges Gloriously from Hiatus on ‘Mr. Morale & the Big Steppers’

by Josh Weiner
NoSo © Bella Rose Porter
Asian American and Pacific Islander Heritage Month, Columns, MusicMay 26, 2022<May 27, 2022

My Midwest Childhood As a Trans Korean-American: An Essay by NoSo

by Guest Writer
The Wonder Years © Kelly Mason
Columns, Music, Today's SongMay 26, 2022<April 13, 2026

Today’s Song: The Wonder Years Look Back on Sweet Beach Days with “Summer Clothes”

by James Crowley
Atwood Magazine's Editor's Picks 64
Columns, Editor's Picks, Features, MusicMay 25, 2022<September 29, 2022

Editor’s Picks 64: Mega, bLAck pARty, Florist, G Flip, Johnny Hunter, & Bobbing x Maddie Jay!

by Mitch Mosk
Bathe Alone © Nic Huey
Music, Music Videos, PremieresMay 25, 2022<May 25, 2022

Premiere: Bathe Alone’s Urgent & Inspiring “Animals & Trees” Is an Impassioned Dream Pop Upheaval

by Mitch Mosk
NoSo © Bella Rose Porter
Columns, Music, Today's SongMay 25, 2022<May 25, 2022

Today’s Song: NoSo’s Intimate Rebirth “Parasites” Is a Beautiful, Spiritual Celebration

by Mitch Mosk
Eliza & The Delusionals © Luke Henery
Debut, Features, Interviews, Music, Track-by-TrackMay 24, 2022<September 29, 2022

“Perspective & Nostalgia”: Eliza & The Delusionals Shine on Their Triumphant Coming-of-Age Debut, ‘Now and Then’

by Mitch Mosk
MYRNE © Jared Rezel
Features, Music, Reviews, Track-by-TrackMay 24, 2022<May 26, 2022

Finding Stillness in Turmoil: The Adventure & Emotion of MYRNE’s Soothing ‘Circles’ EP

by Mitch Mosk
The Darcys © Maya Fuhr
Columns, Music, Today's SongMay 24, 2022<May 24, 2022

Today’s Song: The Darcys’ “Washed Away” Is an Anthemic Reckoning with the Music Industry’s Constant Pressures

by Mitch Mosk
L'Imperatrice at Coachela 2022 © Mickey Pierre-Louis, Goldenvoice 2022
Interviews, Music, ReviewsMay 23, 2022<May 23, 2022

L’Impératrice: Shifting Pop Disco from Genre to Art Form

by Michael Greco
Andrew Combs © Alysse Gafkjen
Music, PremieresMay 23, 2022<May 23, 2022

Premiere: Singer/Songwriter Andrew Combs Finds Grace with “(God)less”

by Kelly McCafferty Dorogy
Debut, Music, Reviews, Track-by-TrackMay 23, 2022<May 23, 2022

A Place to Belong: A Track-by-Track Review of MOONWOOD’s ‘Everything We Once Knew’

by Joe Beer
Christian Lee Hutson © Jacob Boll
Features, Interviews, MusicMay 20, 2022<January 30, 2024

“Hope and Humor”: Christian Lee Hutson Dives into the Stories of New Album ‘Quitters’

by Nasim Elyasi
Sea Lemon © Raphael Gaultier
Debut, Features, Interviews, Music, Track-by-TrackMay 20, 2022<May 23, 2022

“Spiraling, Lush, & Bright”: Seattle’s Sea Lemon Is ‘Close Up’ & Personal on Dazzling, Dreamy Debut EP

by Mitch Mosk
Tamino © Jan Philipzen
Columns, Music, Today's SongMay 20, 2022<May 20, 2022

Today’s Song: Tamino’s “The First Disciple” Tells the Story of a Fallen Idol with Powerful Simplicity

by Lilly Eason
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Brand New

  • Editor’s Picks 156: Green Gardens, Casper Sage, MUANH, Filiah, Lockimara, & Widemouth!
  • “The Alchemy Is Getting Stronger”: Montreal’s Art-Rock Band Museums Are Well Worth a Visit
  • “Truth Calls Us Back to Who We Were Made to Be”: Watashi Wa Meet Themselves Again on “I Am,” a Radiant Power-Pop Revival of Faith, Identity, & the Divine Spirit
  • “Where’s the Optimist in Me?”: Oakwood Reflect on Bygone Days and Look to the Future on ‘Blurred Away’
  • “I Sang to Fill the Emptiness”: London’s chantel Finds Their Voice on “Into Song Again,” a Tender, Tactile Debut Born of Grief, Belonging, & Return
  • “A Beautiful, Terrifying Freedom”: Worthitpurchase Turn Precision into Poetry on “Postcard”
  • “It’s the Modern Way”: Conor Miley Tears Open the Theater of Outrage on “Peepshow,” a Roaring Indie Rock Reckoning for the Algorithmic Age

:: discover something new ::

Recent Posts

  • Editor’s Picks 156: Green Gardens, Casper Sage, MUANH, Filiah, Lockimara, & Widemouth! June 3, 2026
  • “The Alchemy Is Getting Stronger”: Montreal’s Art-Rock Band Museums Are Well Worth a Visit June 3, 2026
  • “Truth Calls Us Back to Who We Were Made to Be”: Watashi Wa Meet Themselves Again on “I Am,” a Radiant Power-Pop Revival of Faith, Identity, & the Divine Spirit June 3, 2026
  • “Where’s the Optimist in Me?”: Oakwood Reflect on Bygone Days and Look to the Future on ‘Blurred Away’ June 3, 2026
  • “I Sang to Fill the Emptiness”: London’s chantel Finds Their Voice on “Into Song Again,” a Tender, Tactile Debut Born of Grief, Belonging, & Return June 3, 2026
  • “A Beautiful, Terrifying Freedom”: Worthitpurchase Turn Precision into Poetry on “Postcard” June 3, 2026
  • “It’s the Modern Way”: Conor Miley Tears Open the Theater of Outrage on “Peepshow,” a Roaring Indie Rock Reckoning for the Algorithmic Age June 2, 2026
  • “All You Need Is Community, Food, Nature, Music”: Hannah Cohen Is Finding Her Way Forward June 2, 2026
  • “Tell the Kids We Tried”: Jacob Brodovsky Faces the Future with Love, Dread, & Grace on “Kids,” a Driving Indie Folk Reckoning June 2, 2026
  • ‘Overnight Delivery’: How the New Delicate Steve EP Is Reviving the Role of Guitarist June 2, 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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