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Atwood Magazine's Weekly Roundup | Women's History Month 2022
Columns, Features, Music, Weekly Roundup, Women's History MonthMarch 18, 2022<March 18, 2022

Atwood Magazine’s Weekly Roundup: Women’s History Month 2022

by Atwood Magazine Staff
Little Boots © 2022
Features, Music, Reviews, Track-by-TrackMarch 18, 2022<March 18, 2022

“DIY Disco Pop”: Little Boots Dives Inside Her Groovy & Glistening 4th LP ‘Tomorrow’s Yesterdays’

by Mitch Mosk
Ken Yates © Jen Squires
Columns, Music, Today's SongMarch 18, 2022<March 18, 2022

Today’s Song: Ken Yates’ Soothing & Stirring Apocalyptic Lullaby “The Big One”

by Mitch Mosk
Danielle Ponder © Hannah Betts
Columns, Music, Today's SongMarch 17, 2022<March 17, 2022

Today’s Song: Rochester’s Danielle Ponder Channels Resilience & Renewal in Soul-Stirring “So Long”

by Mitch Mosk
Michael Baker © Alice Humphreys
Music, PremieresMarch 17, 2022<March 17, 2022

Premiere: Embracing Connection in Michael Baker’s Intimately Ethereal & Softly Cinematic “Until the End”

by Mitch Mosk
Rudy Touzet © 2022
Music, PremieresMarch 17, 2022<March 17, 2022

Premiere: Escaping Reality with Rudy Touzet’s Party Anthem “Goodnight Moon”

by Mitch Mosk
Tears for Fears © Frank W. Ockenfels
Features, Music, ReviewsMarch 17, 2022<March 17, 2022

Illustrious Youth & Depths of Experience: A Review of Tears for Fears’ ‘The Tipping Point’

by David Buyze
Atwood Magazine Editor's Picks 58
Columns, Editor's Picks, Features, MusicMarch 16, 2022<September 29, 2022

Editor’s Picks 58: Rachel Chinouriri, Shannen James, merci, mercy, riela, mxmtoon, & Jenny Berkel

by Mitch Mosk
Maya Abee © Margaret Leyva
Debut, Features, Music, Reviews, Track-by-TrackMarch 16, 2022<March 23, 2022

Finding Power in Our Wreckage: Maya Abee Dives into Her “Exhaling, Honest, & Confessional” ‘Divine’ EP

by Mitch Mosk
Amber Lewis © David Kaminsky
Columns, Music, Today's SongMarch 16, 2022<March 16, 2022

“They Sold You Away, and They Sold Me Away”: Singer/Songwriter Amber Lewis’ Hauntingly Beautiful Love Letter, “Clotel”

by Mitch Mosk
Liddy Clark © 2022
Columns, Music, Women's History MonthMarch 16, 2022<March 16, 2022

Essay: Singer/Songwriter Liddy Clark on Women’s History Month

by Guest Writer
Music, Music Videos, PremieresMarch 16, 2022<March 16, 2022

Premiere: Amine Mesnaoui & Labelle Craft Suspenseful Allure on “Périastre”

by Adrian Vargas
Anna Shoemaker © Josefine Cardoni
Debut, Features, Music, Reviews, Track-by-TrackMarch 15, 2022<March 15, 2022

Feature: Anna Shoemaker Dives Inside Her “Self-Effacing, Self-Destructive, and Diaristic” Debut Album ‘Everything Is Fine (I’m Only on Fire)’

by Mitch Mosk
Giift © Mikaela Grogan
Columns, Music, Today's SongMarch 15, 2022<March 15, 2022

Today’s Song: Giift’s Tenderly Acoustic Debut Single “Fed Up” Reckons with Vulnerability & Intimacy

by Mitch Mosk
Khruangbin and Leon Bridges © Pooneh Ghana
Music, ReviewsMarch 15, 2022<March 15, 2022

Album Review: Khruangbin and Leon Bridges Team Up in the Most Experimental and Melodic Way on ‘Texas Moon’

by Oliver Crook
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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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