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Haunted House song

Music, Reviews, This Just InMay 22, 2020<May 22, 2020

This Just In: DBMK Celebrate Singularity in “Haunted House”

by Maggie McHale

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Indie-Soul Artist Rex & The Rhythm’s Mesmerizingly Mellow “Umbrella” Is a Sanctuary of Sound
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Interview: Ellie Irwin Battles With Love, Loss, and the “Pill That Won’t Go Down”
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“Stand for the encore of Sisyphus’ sigh”: Pillow Queens’ ‘Name Your Sorrow’ Is a Heavy, Sweaty, & Seductive Indie Rock Reverie
“Shining a light on the shadow self”: Hank Heaven’s “Plan 2” Preaches Empathy With a Tender Indie Twang
Interview: Jon Sandler & Luke Mollman Are in a State of Existence That’s Great Good Fine Ok With Them

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Recent Posts

Indie-Soul Artist Rex & The Rhythm’s Mesmerizingly Mellow “Umbrella” Is a Sanctuary of Sound April 19, 2024
“I had to give up to start again”: Asha Jefferies Is Unleashed & Empowered on Triumphant Debut Album ‘Ego Ride’ April 19, 2024
Interview: Ellie Irwin Battles With Love, Loss, and the “Pill That Won’t Go Down” April 19, 2024
Charli XCX Embodies (House) Party Girl Vibes With “Club Classics” April 19, 2024
“Stand for the encore of Sisyphus’ sigh”: Pillow Queens’ ‘Name Your Sorrow’ Is a Heavy, Sweaty, & Seductive Indie Rock Reverie April 19, 2024
“Shining a light on the shadow self”: Hank Heaven’s “Plan 2” Preaches Empathy With a Tender Indie Twang April 18, 2024
Interview: Jon Sandler & Luke Mollman Are in a State of Existence That’s Great Good Fine Ok With Them April 18, 2024
‘Deer in the Headlights’: Essence Martins’ Inner Light Shines on Her Introspective, Ethereal, & Thought-Provoking Debut EP April 18, 2024
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Premiere: Stephanie Lambring’s Haunting “Cover Girl” Reckons with Dysmorphia, Authenticity, & the Pressures of Social Media April 18, 2024

© Atwood Magazine 2023 For the Love of Music

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