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Hellier, Forever - Mia Day

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Music, Our Take, ReviewsJanuary 23, 2025<January 23, 2025

Our Take: Mia Day’s ‘Hellier, Forever’ Is a Timeless Ode to ‘90s Grunge and the Supernatural

by Noa Jamir

The Best Music of 2024, According to Our Favorite Artists!

Features, Lists, MusicDecember 19, 2024<December 19, 2024

The Best Music of 2024, According to Our Favorite Artists!

by Atwood Magazine Staff

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“I Love Weird Sounds with a Lot of Texture”: Fig Tape Serves Up ‘Forcefed Serenity,’ a Genre-Blurring Fever Dream
Today’s Song: Vân Scott’s “Turn Off the Tears” Is an Expansive Anthem of Resilience & Unshakable Spirit
“I’ve heard happiness starts here”: East London’s Lucia Rivero Finds Abundance in Absence on “Nowhere”
“What a Beautiful Thing”: Dijon Triumphs with ‘Baby,’ an All-Consuming Fever Dream of Love, Devotion, & the “Mania of Domesticity”
“Hope Isn’t This Constant Flame; It Flickers a Bit”: Amanda Bergman on Musical Acts of Protest, Refusing to Go Numb, and Staying Grounded in a World Coming Undone
“There Is No Right Path”: Katelyn Tarver on Choosing Herself and Becoming the Example That Was Missing
“We’re Coming Home Again”: Of Monsters and Men Reset, Reconnect, & Rediscover Themselves on the Communal Odyssey of ‘All Is Love and Pain in the Mouse Parade’

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“I Love Weird Sounds with a Lot of Texture”: Fig Tape Serves Up ‘Forcefed Serenity,’ a Genre-Blurring Fever Dream December 5, 2025
Today’s Song: Vân Scott’s “Turn Off the Tears” Is an Expansive Anthem of Resilience & Unshakable Spirit December 5, 2025
“I’ve heard happiness starts here”: East London’s Lucia Rivero Finds Abundance in Absence on “Nowhere” December 4, 2025
“What a Beautiful Thing”: Dijon Triumphs with ‘Baby,’ an All-Consuming Fever Dream of Love, Devotion, & the “Mania of Domesticity” December 4, 2025
“Hope Isn’t This Constant Flame; It Flickers a Bit”: Amanda Bergman on Musical Acts of Protest, Refusing to Go Numb, and Staying Grounded in a World Coming Undone December 4, 2025
“There Is No Right Path”: Katelyn Tarver on Choosing Herself and Becoming the Example That Was Missing December 4, 2025
“We’re Coming Home Again”: Of Monsters and Men Reset, Reconnect, & Rediscover Themselves on the Communal Odyssey of ‘All Is Love and Pain in the Mouse Parade’ December 3, 2025
“I Want to Be Able to Speak Openly About What Hurts”: Marem Ladson Confronts Her Past & Finds Her Voice on “Cavity,” a Dreamy Indie Folk Reverie December 3, 2025
“I’m Not the Bootleg Version of Any Artist”: Gabriel Jacoby Stakes His Claim with Swagger, Sweat, and Southern Fire on ‘gutta child’ December 3, 2025
“Love Is Not the Antidote”: Dove Ellis Reckons with Love’s Limits on “Love Is,” an Aching & Unrestrained Unraveling December 3, 2025

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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