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Music, Our Take, ReviewsJuly 8, 2014<July 8, 2014

Our Take: A Review of Alt J’s New Single “Left Hand Free”

by Liza
Features, Interviews, Photography, VideoJuly 3, 2014<August 20, 2024

A Conversation with Natalie Deryn Johnson (NatalieInMotion)

by Cynthia Liu
Features, From The Zine, Interviews, MusicJuly 3, 2014<July 3, 2014

A conversation with Julianna Barwick

by Nitesh
Music, Our Take, ReviewsJune 30, 2014<July 1, 2014

Our Take: A Review of Bon Iver’s New Single “Heavenly Father”

by Liza
Art, Weekly DiscoveriesJune 30, 2014<June 30, 2014

This Week’s Discoveries: Pt. 1

by Liza
Features, Interviews, PhotographyJune 27, 2014<June 30, 2014

A Conversation with Vivienne Mok

by Alexis
Features, Music, ReviewsJune 25, 2014<June 30, 2014

The Boy You Knew: A Review of Alex G’s New Album DSU

by Stephen
Music, Our Take, ReviewsJune 24, 2014<June 30, 2014

Our take: A Review of The Shin’s New Single “So Now What”

by Nitesh
Features, MusicJune 23, 2014<June 24, 2014

A conversation with Wafia

by Cristina
ArtJune 22, 2014<June 22, 2014

Kara Walker, ‘A Subtlety’

by Morgan
Essays, PhotographyJune 21, 2014<June 19, 2014

Veronika Gilková Editorial

by Liza
Wolf Alice
MusicJune 20, 2014<June 18, 2014

Heavenly Howls: Listen To Wolf Alice’s New EP

by Abigail
UncategorizedJune 19, 2014<April 16, 2020

Letter from the Editor

by Liza
Music, ReviewsJune 18, 2014<June 18, 2014

Our take: A Review of Alt-J’s New Single “Hunger of the Pine”

by Liza
ArtJune 17, 2014<June 19, 2014

the gallerist: a look at Tara Donovan

by Liza
Posts pagination
1 … 734 735 736 737

Brand New

  • “Drama Is Pleasure”: Flare and Fear from Planette Automatic’s Sparkling “Dance Around”
  • “I Loved You Then and I Love You Now”: William Harries Graham Traces the Afterlife of Connection on “NYC,” a Brooding Ambient Folk Reverie from ‘Belrose Motel’
  • “This Time I Intend to Swim”: Satya Comes Home to Herself on ‘Yellow House,’ a Soul-Stirring Debut of Healing, Love, & Release
  • 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’

:: discover something new ::

Recent Posts

  • “Drama Is Pleasure”: Flare and Fear from Planette Automatic’s Sparkling “Dance Around” June 4, 2026
  • “I Loved You Then and I Love You Now”: William Harries Graham Traces the Afterlife of Connection on “NYC,” a Brooding Ambient Folk Reverie from ‘Belrose Motel’ June 4, 2026
  • “This Time I Intend to Swim”: Satya Comes Home to Herself on ‘Yellow House,’ a Soul-Stirring Debut of Healing, Love, & Release June 4, 2026
  • 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
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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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