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Kit Major © Nat Souza
Interviews, MusicJanuary 31, 2022<February 3, 2022

Interview: LA’s Kit Major Talks “Solo Disco” & Being Raised by Lovers of All Things Punk

by Chloe Robinson
Father John Misty © Ward & Kweskin
Columns, Music, Today's SongJanuary 31, 2022<January 31, 2022

Today’s Song: “Funny Girl” Marks a New Golden Age for Father John Misty

by Nasim Elyasi
Atwood Magazine Editor's Picks 54
Columns, Editor's Picks, Features, MusicJanuary 28, 2022<June 6, 2022

Editor’s Picks 54: Nilüfer Yanya, Jack White, NewDad, Public Domain, Foxes, & Sunflower Thieves

by Mitch Mosk
Christina Aguilera © Zoe Rain 8.5
Music, Our Take, ReviewsJanuary 28, 2022<January 28, 2022

Our Take: Christina Aguilera Makes a Triumphant Return to Latin Music with ‘La Fuerza’

by Josh Weiner
Atwood Magazine's Weekly Roundup | January 28, 2022
Columns, Features, Music, Weekly RoundupJanuary 28, 2022<January 28, 2022

Atwood Magazine’s Weekly Roundup: January 28, 2022

by Atwood Magazine Staff
Fergus © Matthew Thorne
Columns, Music, Today's SongJanuary 28, 2022<January 28, 2022

Today’s Song: Fergus Finds Redemption in Our Raw Depths on Tender Reeling “Flatline”

by Mitch Mosk
Sara Rachele © 2022
Music, PremieresJanuary 27, 2022<January 27, 2022

Premiere: Sara Rachele Basks in a Moment of Intimate Reverie on “T-T-Tonight”

by Mitch Mosk
Outer Ego - The fin.
Features, Music, Reviews, Track-by-TrackJanuary 27, 2022<January 27, 2022

“Universe, Pain, & Love”: A Track-by-Track Breakdown of The fin.’s Kaleidoscopic Album ‘Outer Ego’

by Mitch Mosk
Verb Tec © Sahar Coston-Hardy
Features, Music, Reviews, Track-by-TrackJanuary 27, 2022<February 7, 2022

“From the Muscle”: Verb Tec & Vanderslice’s ‘No Struggle No Progress’ Is an Undeniable Record of Ambition & Triumph

by Mitch Mosk
Jelani Aryeh © Natasha Tilly
Columns, Music, Today's SongJanuary 27, 2022<January 30, 2024

Today’s Song: Jelani Aryeh Offers a Coming-of-Age for All Ages with “I’ve Got Some Living to Do”

by Nasim Elyasi
Suki Waterhouse © Dana Trippe
Artist to Watch, Features, Interviews, MusicJanuary 27, 2022<May 11, 2022

Artist-to-Watch Suki Waterhouse is Letting Go and Opening Up

by Nicole Almeida
Olly Olly - Penny and Sparrow
Features, Music, Reviews, Track-by-TrackJanuary 26, 2022<January 26, 2022

“Being Here Now”: Penny and Sparrow Soar on ‘Olly Olly’, Their Free-Spirited & Triumphant 7th Album

by Mitch Mosk
Novaa © Rebecca Kraemer
Music, Music Videos, PremieresJanuary 26, 2022<January 26, 2022

Premiere: Novaa’s “The World’s Thing” Is a Mesmeric Alt-Pop Ode to Indifference & Apathy

by Mitch Mosk
Jessie Reid © Emilie Cotterill
Artist to Watch, Music, PremieresJanuary 26, 2022<January 26, 2022

Artist to Watch: Shropshire’s Jessie Reid Blooms in Soft, Stirring New Single “Other Hand”

by Mitch Mosk
Jimkata © 2021
Features, Interviews, MusicJanuary 26, 2022<January 26, 2022

Interview: 1 Track Per Month x 10 Months = A ‘Bonfires’ LP for Indie Rockers Jimkata

by Josh Weiner
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Brand New

  • “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
  • “All You Need Is Community, Food, Nature, Music”: Hannah Cohen Is Finding Her Way Forward
  • “Tell the Kids We Tried”: Jacob Brodovsky Faces the Future with Love, Dread, & Grace on “Kids,” a Driving Indie Folk Reckoning

:: discover something new ::

Recent Posts

  • “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
  • “I Want People to Know That They Have a Voice”: Fiona-Lee Says the Quiet Part Aloud on ‘Every Woman,’ an Unflinching EP of Survival, Reclamation, & Release June 2, 2026
  • “Your Songs Are Smarter Than You”: Jordan Joy Makes Her Debut with Shimmering Indie Pop Anthem, “Don’t Kill the Vibe” June 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.

© Atwood Magazine 2024 For the Love of Music
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