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A Casual Ramble: Albums of the Year 2021!
A Casual Ramble, Columns, MusicJanuary 20, 2022<February 1, 2022

A Casual Ramble: Albums of The Year 2021 Racket Edition

by Ben Niesen
Under the Rug © 2022
Music, PremieresJanuary 19, 2022<January 19, 2022

Premiere: Austin’s Under the Rug Reckon with Grief in Soothing “Go to Sleep” Off 2nd Album ‘Dear Adeline’

by Mitch Mosk
Magic - Nas 8.2
Music, Our Take, ReviewsJanuary 19, 2022<March 2, 2025

Our Take: Nas Has Plenty of ‘Magic’ Left to Spin on 15th LP

by Josh Weiner
Sgt Culpepper - Joel Culpepper
Debut, Features, Interviews, MusicJanuary 19, 2022<August 15, 2022

“Funk, Feeling, Future”: Joel Culpepper on His Soulful & Triumphant Debut ‘Sgt Culpepper’

by Mitch Mosk
Katie Tupper © Julian Lomaga
Columns, Music, Today's SongJanuary 19, 2022<January 19, 2022

Today’s Song: Seeking Closure on Katie Tupper’s Graceful & Gutting New Single “Danny”

by Mitch Mosk
Atwood Magazine's 2022 Artists to Watch
Features, Lists, MusicJanuary 18, 2022<September 29, 2022

Atwood Magazine’s 2022 Artists to Watch

by Atwood Magazine Staff
Evelyn Frances © 2022
Music, PremieresJanuary 18, 2022<January 18, 2022

Premiere: Evelyn Frances Awakens in Hushed & Raw New Single “Tired”

by Mitch Mosk
Nation of Language © Robin Laananen
Features, Interviews, MusicJanuary 18, 2022<January 18, 2022

Interview: Nation of Language’s Ian Devaney on Pandemic Recording, Touring, and ‘A Way Forward’

by Beau Hayhoe
The Flops © Hannah Dekle
Music, PremieresJanuary 18, 2022<January 18, 2022

Premiere: The Flops Channel ’90s Grunge & Alternative in Smoldering “Girl I Need to Know”

by Mitch Mosk
Daisy the Great © Shervin Lainez
Columns, Music, Today's SongJanuary 15, 2022<January 14, 2022

Today’s Song: Daisy the Great’s Dreamy “Glitter” Sees the Beauty in Our Mess

by Mitch Mosk
Delvon Lamarr Organ Trio © Kendall Rock
Features, Interviews, MusicJanuary 14, 2022<January 14, 2022

“Chops Don’t Sell Records”: A Conversation with the Delvon Lamarr Organ Trio

by Ben Niesen
Linying © Ronan Park
Debut, Features, Music, Reviews, Track-by-TrackJanuary 14, 2022<January 14, 2022

“Scared of Love”: Inside Linying’s Beautifully Intimate & Therapeutic Debut ‘There Could Be Wreckage Here’

by Mitch Mosk
Emily Blue © Kirsten Barnett
Features, Interviews, Music, Track-by-TrackJanuary 14, 2022<January 18, 2022

“Love, Loss, & Rebirth”: Inside Emily Blue’s Enchanting ‘The Afterlove,’ an Album of Self-Love, Dance, and Reckoning

by Mitch Mosk
Erika Tham "Shhh" © Yoshi Uemura
Columns, Music, Today's SongJanuary 14, 2022<January 14, 2022

Today’s Song: Erika Tham Ignites on Empowering & Seductive Second Single, “Shhh”

by Mitch Mosk
Tall Heights © Mitchell Wojcik
Features, Interviews, MusicJanuary 14, 2022<January 15, 2022

Isolated In Space and Time: Tall Heights Release Third Full-Length Album ‘Juniors’

by Coco Rich
Posts pagination
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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.

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