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Baio © Pooneh Ghana
Features, Interviews, MusicJanuary 29, 2021<February 5, 2021

Developing a Voice & Spreading Joy Amidst an Apocalypse: A Conversation with Baio

by Frankie Rose
Adam Melchor © 2020
Artist to Watch, Music, ReviewsJanuary 28, 2021<January 28, 2021

Artist to Watch: Adam Melchor Stuns with Breathtakingly Beautiful Songs “Life on Earth?” & “The Last Song on Earth”

by Mitch Mosk
Phantom Wave © 2021
Columns, Music, Today's SongJanuary 28, 2021<January 28, 2021

Today’s Song: Brooklyn’s Phantom Wave Dwell in Ethereal Shoegaze Depths on Overdriven Upheaval “Billows”

by Mitch Mosk
Doohickey Cubicle © Jordyn Taylor-Robins
Music, PremieresJanuary 28, 2021<January 28, 2021

Premiere: Doohickey Cubicle’s Hazey Song “Sign Here” Is a Cheeky & Intoxicating Celebration of Consumerism

by Mitch Mosk
JOYNER © Morgan Demeter
Music, ReviewsJanuary 28, 2021<January 28, 2021

California Duo JOYNER’s 2018 Debut “White Lights” Continues to Burn Bright

by Mitch Mosk
Breaking The Record 2020
Breaking the Record, Columns, MusicJanuary 28, 2021<January 28, 2021

Breaking the Record with Roan Yellowthorn, Part 48: Making Progress

by Guest Writer
Roller Derby © Anja Gurres
Music, Music Videos, PremieresJanuary 28, 2021<January 27, 2021

Premiere: Hamburg’s Roller Derby Weave a World of Dream Pop Wonder in Soaring “Can’t See You”

by Mitch Mosk
Sincere Engineer © Hovland
Music, Music Videos, PremieresJanuary 28, 2021<January 27, 2021

Premiere: Sincere Engineer Infuse the Mundanity of Winter with Blood-Hot Drama on “Tourniquet”

by Ethan James
Twïnn
Interviews, MusicJanuary 27, 2021<August 19, 2021

Interview: Michigan Synth Duo Twïnn Deliver “Accidental Diplomatic Mosaics from Space”

by Lilly Eason
False Heads
Interviews, MusicJanuary 27, 2021<January 27, 2021

“Three scruffy wronguns making a powerful album”: False Heads’ Luke Griffiths Looks Back on Dynamite Debut a Year Later

by Guest Writer
Atwood Magazine's Editor's Picks 44
Columns, Editor's Picks, Features, MusicJanuary 27, 2021<January 27, 2021

Editor’s Picks 44: Weezer, Soda Blonde, Arlo Parks, Charli Adams, Avenue Beat, & Kuri

by Mitch Mosk
Rosier © Marc-Andre Thibault
Debut, Features, Music, PremieresJanuary 27, 2021<January 27, 2021

Album Premiere: Reinventing Traditional Folk Tales with Rosier’s Debut ‘Légèrement’

by Frankie Rose
Sabiyha © Shingi Rice
Music, PremieresJanuary 27, 2021<February 1, 2021

Premiere: Croydon’s Sabiyha Honors Guyanese Heritage, Family, & Childhood in New Single “Lullaby”

by Mitch Mosk
Charli Adams © Luke Rogers
Columns, Music, Today's SongJanuary 27, 2021<November 30, 2022

Today’s Song: Nightly Join Charli Adams in Reimagining Modern Love on “Maybe Could Have Loved”

by Jason Brillon
Lisa/Liza © Alexa Clavette
Music, Reviews, Track-by-TrackJanuary 26, 2021<May 1, 2023

“Fielded, Holding, Placement”: Lisa/Liza Evokes Stillness with Raw Folk Album ‘Shelter of a Song’

by Mitch Mosk
Posts pagination
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Brand New

  • Today’s Song: Anthony Arya’s Warm & Wistful “Sugar on Your Shades” Is an All Acoustic Folk Dream
  • Atwood Magazine’s Weekly Roundup: April 17, 2026
  • “I Hit the Floor and It’s Breaking My Heart”: CASTLEBEAT Drifts Through Distance & Longing on “My Love,” a Hypnotic Dream-Pop Spiral
  • Interview: LAPêCHE Discuss Vulnerability, Distance, & Finding Meaning in the Process on ‘Autotelic,’ an Album Where Creation Was the Point
  • “I Was Born a Clown, But Now I’m Known to Cry”: Royel Otis Stir the Heart with “Sweet Hallelujah,” an Achingly Beautiful Love Letter of Goodbye
  • Live Review: Sophia Galaté Is Meant to Perform
  • Music You Should Know: Father John Misty Keeps It Together for His “Mental Health”

:: discover something new ::

Recent Posts

  • Today’s Song: Anthony Arya’s Warm & Wistful “Sugar on Your Shades” Is an All Acoustic Folk Dream April 18, 2026
  • Atwood Magazine’s Weekly Roundup: April 17, 2026 April 17, 2026
  • “I Hit the Floor and It’s Breaking My Heart”: CASTLEBEAT Drifts Through Distance & Longing on “My Love,” a Hypnotic Dream-Pop Spiral April 17, 2026
  • Interview: LAPêCHE Discuss Vulnerability, Distance, & Finding Meaning in the Process on ‘Autotelic,’ an Album Where Creation Was the Point April 16, 2026
  • “I Was Born a Clown, But Now I’m Known to Cry”: Royel Otis Stir the Heart with “Sweet Hallelujah,” an Achingly Beautiful Love Letter of Goodbye April 16, 2026
  • Live Review: Sophia Galaté Is Meant to Perform April 16, 2026
  • Music You Should Know: Father John Misty Keeps It Together for His “Mental Health” April 16, 2026
  • “I Owe You My Life”: Sublime Pay Homage to Bradley Nowell with “Until the Sun Explodes,” a Stunning Tribute to Legacy and Loss April 16, 2026
  • “Swimming on the Surface”: Ivory Layne Faces the Fear of Falling on “Skim,” a Cinematic Surge of Desire and Self-Protection April 16, 2026
  • “I Pride Myself on Healthily Hating”: Alemeda Asserts Her Worth on “Broken Record,” a Blistering Rejection of Cheap Love April 15, 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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