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Hello Lightfoot © Michael Todaro
Music, PremieresDecember 1, 2021<November 30, 2021

Hello Lightfoot’s Jessica Louise Dye Owns Her “Shame” in Moody Sophomore Single

by Guest Writer
Theodore © 2021
Music, PremieresDecember 1, 2021<December 1, 2021

Premiere: Theodore Debuts Urgent, Hypnotic, & Cinematic Single “Man and His Tools” Off 4th Album ‘The Voyage’

by Mitch Mosk
Kenneth Ishak © Julia Naglestad
Features, Music, Reviews, Track-by-TrackNovember 30, 2021<December 1, 2021

“Positive, Specific, & Green”: Norway’s Kenneth Ishak Blooms in Dazzling ‘Native Tongue’

by Mitch Mosk
Francis Karel © Brittany O'Brien
Columns, Music, Today's SongNovember 30, 2021<November 30, 2021

Today’s Song: Love Hits Like a Wrecking Ball in Francis Karel’s “I Don’t Like How Much I Like You”

by Mitch Mosk
MusicNovember 29, 2021<November 29, 2021

Interview: Chong the Nomad Follows Her Own Rhythm at Treefort 9

by Sophie Prettyman-Beauchamp
Mother Mother © Rich Smith
Features, Music, Reviews, Track-by-TrackNovember 29, 2021<December 7, 2021

“Introspective, Human, & Hopeful”: Mother Mother Dive ‘INSIDE’ Their Intimate, Raw 8th Album

by Mitch Mosk
Red (Taylor's Version) - Taylor Swift
Features, Music, Reviews, RoundtableNovember 29, 2021<June 29, 2024

Roundtable Discussion: A Review of Taylor Swift’s ‘Red (Taylor’s Version)’

by Atwood Magazine Staff
Babe Club © Taylor Czerwinski
Columns, Music, Today's SongNovember 29, 2021<November 29, 2021

“It makes me feel alive”: Babe Club Reckon with Adulthood-Induced Depression in “That Feeling”

by Mitch Mosk
Momma © Cooper Winterson
Music, ReviewsNovember 24, 2021<November 29, 2021

Love’s a Drug: Momma’s “Medicine” Is a Grunge-Fueled Song of Intimate Addiction

by Mitch Mosk
Sam Fender live @ London's Alexandra Palace, November 2021 © Rory Barnes
Concerts, Music, ReviewsNovember 24, 2021<November 24, 2021

Live Review: Sam Fender Conquers London’s Alexandra Palace

by Bethan Harper
M.anifest © 2021
(archived), Features, Music, Reviews, Track-by-TrackNovember 24, 2021<February 26, 2022

“Reflective, Candid, Journey”: Ghanaian Rapper M.anifest Stuns, Stirs, & Soars on ‘Madina to the Universe’

by Mitch Mosk
AIR APPARENT © @pleasenophotoss
Interviews, MusicNovember 24, 2021<November 22, 2021

Interview: San Francisco’s AIR APPARENT Discusses Ethereal “All By Yourself,” Dream Collaborations, & Horizons

by Chloe Robinson
B-Drop
Features, Music, PremieresNovember 24, 2021<November 26, 2021

Premiere: B-Drop Worldwide Showcases Phantom Isle, The Habits, Roman Lewis, Danny Singh, and Friedberg

by Mitch Mosk
Colleen Green © Jenna Lemieux
Columns, Music, Today's SongNovember 24, 2021<November 24, 2021

Today’s Song: Colleen Green Dissects Modern Relationships on Punky “How Much Should You Love a Husband?”

by Jordan Catagnus
Nina June © Marc Haers
Essays, Music, PremieresNovember 24, 2021<November 23, 2021

“Meet Me on the Edge of Our Ruin”: An Essay by Nina June

by Guest Writer
Posts pagination
1 … 286 287 288 289 290 … 737

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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