Every Friday, Atwood Magazine’s staff share what they’ve been listening to that week – a song, an album, an artist – whatever’s been having an impact on them, in the moment.
This week’s weekly roundup features music by Leif Vollebekk, Friedberg, MJ Lenderman, TAVE, sadplanet, Camryn Quinlan, Folk Bitch Trio, two blinks, i love you, patrick hardy, Elisa May, Post Malone & Morgan Wallen, The Wild Things, Sarah Klang & Fruit Bats, Izza, Snotty Nose Rez Kids ft. Princess Nokia, Tangerine, OWBY, Lucky Iris, Raavi, and Chinese American Bear!
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:: “Peace of Mind (Evening)” – Leif Vollebekk ::
Mitch Mosk, Beacon, New York
I can’t help but listen to Leif Vollebekk’s latest single with a big smile on my face – because that’s what this song is: Sweet bliss channeled into soul-stirring sound. The latest single off the Canadian singer/songwriter and multi-instrumentalist’s forthcoming fifth studio album Revelation (due out September 27 via Secret City Records), “Peace of Mind (Evening)” is a dreamy reverie basking in the glow of intimate connection; of the kind of nirvana, tranquility, and serenity that comes mostly in bits and spurts, fleeting glimpses and passing glances.
Driving around looking for action
Mountain range come into view
The colours they change
With the sun and the rain
Maybe now I’m different too
Last night I prayed for direction
This morning when it showed
I didn’t hold on
Now baby it’s gone
You tell me now that’s just how it goes
You give me peace of mind
You give me peace of mind
And to make matters all the more interesting, this version of the song won’t even appear on Vollebekk’s upcoming album; rather, he wanted this song, the way it sounds here, today, to live on its own as an escape and indulgence.
“This is the ‘evening version’ of ‘Peace of Mind,’” Vollebekk tells Atwood Magazine. “This version isn’t even on the record. It just wanted to be its own thing. It wanted drums off the top. It wanted to have jangly guitars and 80s synthesizers. I suppose I wanted it to remind me of the bliss I feel when a great song comes on the radio on a late-night drive. Considering the title, it’s rather ironic that I’ve spent more time recording this song than any other. I’ve recorded 4 or 5 different versions of this song. The latest, called ‘Peace of Mind (Evening),’ is the version that seems to include everything I’ve loved from each version that came before, including the vocal-heavy album version. I suppose it’s testament to how much the song means to me.”
“Singing this song, it just kind of sets me free,” he adds. “The melody came along fully formed right after I’d spent a few weeks’ vacation with my family. I rediscovered my solitude for the first time in a while. And, in the stillness, I sang about them. I dreamt a child placed a dandelion on my grave. For some reason, I awoke incredibly peaceful. What does that mean?”
Honey, you make it look easy
Floating above the world
When you least expect it
Your body electric
Brings you back to that little girl
Running through the streets of the village
Talking to strangers on high
98 in the shade
For this you were made
But my northern blood was begging to fly
You give me peace of mind
You give me peace of mind
An artist I once proudly crowned “the songwriter’s songwriter,” Leif Vollebekk is a singular creative visionary on the verge of realizing his raison d’être – or at the very least, his magnum opus to date. Brought to life in the stillness and silence of the pandemic, Revelation is years in the making, the product of dreams manifested and ambition tested to its limits. It’s a captivating, all-consuming, expansive, and deeply expressive work of art that finds Vollebekk the singer, Vollebekk the songwriter, Vollebekk the musician, Vollebekk the producer, and Vollebekk the architect all working in sync and on hyperdrive. Intimate and enchanting, “Peace of Mind (Evening)” is a glimpse into the world he’s created on what will surely be one of 2024’s most beautiful albums.
Blood in the river turnin’ to dust
Who will deliver the two of us?
I wonder if I’m crazy to want this
Wandering from town to town
What if my purpose is deserting the circus
Honey, would you follow a clown?
I dreamed I attended my funeral
Children playing in the rain
A dandelion placed over my face
And I’ll never be the same again
You give me peace of mind
:: “Hardcore Workout Queen” – Friedberg ::
Mitch Mosk, Beacon, New York
I have found my new anthem in Friedberg’s “Hardcore Workout Queen,” a seductive and cinematic indie pop fever dream – and the perfect soundtrack to lazing on the couch or sweating out your demons. The London-based band’s fourth song of the year is as dreamy as it is driving, and as invigorating as it is utterly intoxicating – a moving display of their finessed instrumental skills, their evocative songwriting abilities, and lead singer Anna Wappel’s dynamic voice.
So whether you’re still in bed or already at the gym (or anywhere in-between), you can fall head-over-heels for this spellbinding, immersive enchantment.
Anywhere I can let my hair down
Grow it out, wear it like a new ball gown
Come on up it’s the greatest bar in town
Anywhere I can put my feet up
Lay down, you can be my sofa
Stay still till the valium wears out
Let me live like the teenage boys do
Black out blind ain’t no light gon’ shine through
In my dreams I don’t mind if I win or lose
Hey you eating all the granola
Come and join me in my food coma
I’ve got cake, you can have quinoa
“It’s about being the Champion of the slobs, whilst cheering for the Hardcore Workout Queens, who run past your bedroom window early morning, when you’re just tucking into your second breakfast,” Friedberg’s unapologetic frontwoman tells Atwood Magazine. “It’s kind of ‘you do you and I do me, and maybe one day we’ll switch.’ It’s the perfect song to listen to, whether you’ve got a protein shake or a beer in your hand, whether you’ve got a popcorn machine or a rowing machine in your home, whether you’re a wake and baker or a record breaker.”
The chorus is a moment of reckoning, redemption, and release as Friedberg rise to a cathartic climax:
Hardcore workout queen
Kill it on the row machine
Hard core workout queen
Hey!
Hardcore workout queen
Kill it on the row machine
Hard core workout queen
Following recent singles “My Best Friend,” “The Greatest,” and “Hello” – which Atwood Magazine praised this past spring as a “full-body escapist anthem… the kind of song that gets the blood pumping; a passionate, propulsive fervor that turns every walk into a red-hot strut” – “Hardcore Workout Queen” is much more than an expression of connection or experience; it’s a statement of intent. The band’s forthcoming debut album, also titled Hardcore Workout Queen, is due out November 8th, and promises many more moments of unfiltered emotion and shiver-inducing sound that will get the heart racing, the blood pumping, our heads banging and our booties shaking.
:: Manning Fireworks – MJ Lenderman ::
Eric Schuster, Los Angeles, CA
MJ Lenderman is indie rock’s new music darling; with profiles in The New York Times, The Ringer, and his new album Manning Fireworks receiving a score of 8.7 on Pitchfork, MJ Lenderman has a very bright future ahead of him. With a laidback voice, impressive guitar chops, and comical yet also deeply philosophical lyrics, it’s easy to see why he has received such critical acclaim. He has been honing his chops in his hometown of Asheville, North Carolina for years. He is also a member of the alternative rock group Wednesday, which he formed with his ex Karly Hartzman.
Manning Fireworks is a tour de force, and will be a landmark album in MJ Lenderman’s already impressive discography. My favorite track on the album is the single “She’s Leaving You,” but each song on the album has plenty to offer.
:: “Difference Now” – TAVE ft. Stacy Barthe, Runkus ::
Grace Holtzclaw, Los Angeles, CA
TAVE is an industry professional turned artist lending his story of self-discovery to the dynamic tracks he pens. His latest release entitled “Difference Now” chronicles his recent metamorphosis and his emergence as his own artist. Adding more context to his track, TAVE remarks, “I’m different now.” Featuring enthralling vocals from Stacy Barthe and influential reggae artist Runkus, “Difference Now” is a celebration of everyone’s unique journey.
“Difference Now” stuns with soulful waves of percussion, ruminative strings, and magnetic vocals from all three artists. Rather than shying away from change, “Difference Now” embraces new beginnings with full force. For TAVE, this track is a monumental capstone of his evolution as a musician, proving that now more than ever, he’s stepping into his moment.
“Difference Now” follows the release of TAVE’s debut single “No More Maybes” featuring Bibi Bourelly and India Shawn. Outside of his work as an artist, he’s celebrated for his contributions on Masego’s Grammy-nominated albums Studying Abroad: Extended Stay and 6LACK’s “Inwood Hill Park.” “Difference Now” is TAVE’s profound new track.
:: “walk” – sadplanet ::
Frederick Bloy, London, England
sadplanet’s “walk” immediately conjures thoughts of one band, personally, and that’s Beach House, particularly the early escapades of the now exalted duo. The parallels are easy to make: an impressionist’s wash of synths filling out the song’s texture; looping hip-hop-esque drum patterns; obscured, warbling guitar lines; bleached female vocals musing on love. These are not disparaging comparisons, but rather ones of note, maybe even promise.
That homogenised, astral plane of sparkling synths for the song’s initial backdrop, resembling the tranquil space depicted on the single’s artwork. The hip-hop beat that places us in time amidst this landscape switches as the female lead remarks on how, or rather, asks for a, presumably, departed love interest to ‘see right through me’. Perhaps it is a present longing that sees the song shift into something more animated; the desire for something so inoffensive – ‘walk the way back home with me’ – cuts to the essence of the song with greater efficacy than any other words say. The past can be sidelined: highschool boyfriends, or even ‘the things [taken]’, which can always be given back ‘some other time’. This is a plea of simply sharing a time at all. Colossal, sliding guitar/synth lines shift in the distance, with a bass now punctuating the track.
The realms of dream pop and shoegaze often overlap and muddle, their parameters blurred and crudely conjoined. To many, that grey area of coalescence is itself a frustratingly oversaturated one. I am not sure if I completely agree – yes, it is a sound boasting a farrago of releases, and so there is a mass perhaps lacking in individuality and/or inspiration. But, when something with genuine promise pokes through, you can’t help but be transfixed once again, even if just for a few minutes.
:: “Hourglass” – Camryn Quinlan ::
Danielle Holian, Galway, Ireland
Camryn Quinlan’s debut single “Hourglass” offers a heartfelt glimpse into the emotional landscape of young love and heartbreak. The 17-year-old singer-songwriter delivers a delicate yet powerful performance, her silky vocals floating effortlessly over a soundscape of muted piano, acoustic guitar, and subtle layers of strings and synth. The production, handled by Baldvin Hlynsson, perfectly complements Quinlan’s introspective lyrics, gradually building the song’s intensity while maintaining its tender, reflective core.
Lyrically, “Hourglass” resonates with its universal theme of time slipping away, a feeling many can relate to in the context of fleeting relationships. Quinlan draws from personal experience, reflecting on the bittersweet nature of long-distance love, knowing its inevitable end. This raw vulnerability is where the song truly shines, as Quinlan captures the emotional complexity of young heartbreak with a maturity beyond her years, blending sincerity with a subtle sense of hope.
As a debut single, “Hourglass” positions Quinlan as a promising new talent in the singer-songwriter scene. Her ability to balance emotionally charged lyrics with a rich, carefully crafted sound suggests that her forthcoming EP, If We’re Being Honest, will further showcase her depth as an artist. With influences ranging from Taylor Swift to Kacey Musgraves, Quinlan’s music is both accessible and profound, offering listeners a mix of relatable storytelling and beautifully layered production.
:: “God’s a Different Sword” – Folk Bitch Trio ::
Mitch Mosk, Beacon, New York
To their credit, Naarm / Melbourne’s Folk Bitch Trio have an incredible band name – and an even better sound: Lush three-part vocal harmonies take center stage on “God’s a Different Sword,” the indie folk group’s breathtaking first single of the year. Reminiscent of The Staves, boygenius, and First Aid Kit, sweetly stirring vocals radiate gently alongside emotive acoustic instrument that gracefully ebbs and flows with the melodies, aiding the band as they spill their souls in three and a half intimately enchanting minutes of warmth and wonder.
Am I lucky?
Or am I just sane?
Have I been walking round in circles
Always fumbling your name
Heard it quiet
At the bottom of my drawer
A heavy conversation
That I started to ignore
Here I go, just one more…
“‘God’s a Different Sword’ speaks to relinquishing a pattern, but indulging in the habit ‘just one more time,’” the band, comprised of close friends Gracie Sinclair, Jeanie Pilkington, and Heide Peverelle, tells Atwood Magazine. “The song was produced by us and Tom Healy during a fleeting stop in Auckland, Aotearoa this winter, while we were in town supporting Ben Howard. The lyrics are exasperated and questioning, so we wanted them to be held by instrumentation that is optimistic and open. The video, made by our dear friend Bridgette Winten, shows us gallivanting around our stomping grounds in Naarm, where this song was written and born.”
If I left it just a little while
Would these questions turn to answers
In a neat little pile
Could I be good on my own accord?
Heaven knows I know need it
But god’s a different sword
Here I go, just one more…
Dreamy and dramatic, soft and spellbinding, “God’s a Different Sword” emerges like a lush indie folk blanket to calm and consume the ears, the mind, the heart, and the soul. It’s a bold, instantly memorable introduction to Folk Bitch Trio, and one that ensures we’ll be paying special attention to the Australian band from here on out.
I feel better no I feel awake
Well I’ve been lying in a hook net
Just waiting for my break
Can’t deny it my body keeps the score
But if you tell me that you need it
I can get up off my floor
Here I go, just one more
Woke up early just a rule I’ve laid
Now my future’s written out on my Sunday dinner plate
Could I be good on my own accord?
Heaven knows I know need it
But god’s a different sword
Here I go, just one more
:: “my girl” – two blinks, i love you ::
Mitch Mosk, Beacon, New York
There’s an undeniable aching at the core of two blinks, i love you’s latest single: A driving feeling that all is not right within us, and that we might not be salvageable, but that we might just make it in spite of ourselves. Released August 28th via Heist or Hit, “my girl” is romantic, angsty, dreamy, and dramatic: A cocktail of feelings, all channeled into four minutes of alternative bliss.
It’s a soul-stirring return for Liam Brown’s Liverpool-based singer/songwriter project – one that has consistently dazzled us from day one, making it onto Atwood’s Editor’s Picks back in 2022 and continuing to take our breath away as recently as last November, when his scuzzy single “sentiment” introduced a grungy, gritty new artistic direction.
And when I make my bed
You’re my girl
And when it feels too rough
you’re my girl
I said, you’re my girl
And the I feel too much
You’re my girl
And when I lie too much
You’re my girl
I said you’re my girl
Billed as “an ode to early ‘00s NYC” (both sonically and aesthetically), “my girl” continues to build out two blinks, i love you’s burgeoning indie rock identity. In its four-minute push and pull, we feel the spirits of LCD Soundsystem, The Strokes, The Walkmen, and others – and in its comforting, cathartic lyrics, we feel the familiar twinge of longing and loneliness, even in a crowded room.
“It feels lyrically about leaning on someone you love, in good and bad ways,” Brown tells Atwood Magazine. “A love between two people that can be so far from each other in style, and this causing a fundamental rift. I think those feelings can ultimately make two people feel lonelier.”
“The video reflects that – it is a kind of insular day in the life diary entry of my time in New York, about feeling a bit lost and aimless being essentially a tiny, tiny fish in that massive pond of a city. I think even though there is so much going on in New York and the video, there’s a stillness too that I think has naturally weaved its way through the video because it’s so personal and intimate.”
Maybe you were right
‘Cos I play the old song
You play the new song
I play the old song
You play the new song
And I can’t see it any other way
I’ll show my age
And I’ll show my age
And I don’t think of any other ways
Oh, I show my age, I show my age
I show my age, I show my age
I show my age, I show my age
‘Cos you’re my girl
‘Cos you’re my girl
A soothing blanket of sound, “my girl” is as enchanting as it is exhilarating. It’s the kind of visceral, intimate indie rock track that has the power to move mountains within – a song whose power is sure to be realized in time, as more and more people hop on the two blinks, i love you train.
Maybe you were right
‘Cos I play the old song
You play the new song
I play the old song
You play the new song
Maybe I was rectified
‘Cos I play the old song
You play the new song
I play the old song
And, and it goes on
And when I see my girl
I say “you’re my girl”
When I don’t see my girl
I say “you’re my girl”
I say “you’re my girl”
Maybe you were right
‘Cos I play the old song
You play the new song
I play the old song
And, and it goes on
:: Tiny – patrick hardy ::
Jimmy Crowley, New York
Patrick Hardy’s latest album Tiny is one of the most promising emo releases of the year. He drifts seamlessly from tapping-heavy midwest emo (“Jump Through You”) to lofi bedroom pop (“Old S10”) to math-rock shout alongs (“Nothing Wrong”) to straightforward pop-punk (“Happen”). Even though sometimes the leaps feel big (like the circle pit-inducing “Wasted” to the dreamy “The Slip”), nothing feels out of place. Tiny feels like scrolling through Tumblr during its golden age and continually finding bands that could become your new favorites.
Hardy’s voice veers more into the crisp and clean indie rock side of emo, but his delivery of his catchy lyrics certainly captures plenty of attention for standout songs like “Happen.” The tracks capture the listless feeling of maneuvering your way through your early 20s. “I’ve been circling around the point so much I’m on the ground/Floating on the shoulders of the shit I couldn’t talk about,” he sings on the song.
As Hardy continues to shape his identity, it’s exciting to see where he goes. This record shows a lot of promise for someone who has a clear understanding of the different angles that this genre can take.
:: “Black Lines” – Elisa May ::
Joe Beer, Surrey, UK
Prague-based, alt-pop artist Elisa May offers an honest glimpse into her teenage years with her relatable new anthem, “Black Lines.” Written when she was 16, and now revisited a few years later, older and wiser, “Black Lines” still resonates deeply as it captures the raw emotions of teenage angst. Reflecting on that time, she candidly shares, “I was sixteen. I hated my parents. I hated my boyfriend. I hated everything and the world was unfair. Teen angst, baby.”
As she reflects on being trapped in a toxic relationship, Elisa May hopes “Black Lines” will resonate with anyone in a healthy relationship—whether romantic, platonic, or familial. The song captures the full journey of feeling stuck, finding the strength to break free, and the empowering experience of discovering your voice. It’s about declaring to the world who you are, what you want, and the incredible journey you’re ready to embark on, now that you’re free from others’ control.
As well as the strong and positive message behind the single, Elisa May demonstrates her impressive musicianship, with her soul-infused vocals that soar over spine-tingling strings and haunting piano. This is a track that will embed itself in mind for the entire day!
:: F-1 Trillion – Post Malone ::
Josh Weiner, Washington DC
I’m on the fence about getting a ticket for Post Malone’s concert at Fenway Park next week (tickets are going for about $100 minimum– uggghhh this greedy corporate world we live in…). But I’m certainly not so divided about my reaction to the latest Post Malone album, which I finally listened to all the way through for the first time last night while making enchiladas – it RULES! It’s incredibly high-energy all the way through, and everything that made lead single “I Had Some Help” one of the biggest hits of the summer– its seamless blend of country and rock; the impressive vocal collaboration between Post and his guests (Morgan Wallen, in that case)– is true time and again on many of the other 17 songs that appear across the album’s fast-moving hour-long runtime.
I wish I’d gotten my act together and properly reviewed F-1 Trillion when it first came out last month, but the least I can do is to give it a delayed shout-out here in the Weekly Roundup instead. I’ll decide by this coming Wednesday whether my pockets are indeed deep enough for the F-1 Trillion Tour’s stop in Fenway Park, but count me as a big admirer of its parent album either way!
:: Afterglow – The Wild Things ::
Mitch Mosk, Beacon, New York
It’s not every day that a living rock legend facilitates your band’s very creation, and then goes on to endorse all your music – let alone produce your whole album! Charming, dynamic, and all too easy to fall for, The Wild Things are a wild breed indeed – an indie rock band full of youthful spunk and fiery energy, brought into being thanks in no small part to The Who’s Pete Townshend: Frontwoman Sydney Rae White (star of BBC’s Uncle and Young Dracula) and lead guitarist Rob Kendrick first met when they were cast as the two leads of a touring production of Quadrophenia, a staged musical based on the album by The Who of the same name.
With Sydney’s brother Cameron White on bass and mutual friend Pete Wheeler on drums, The Wild Things have been lighting up earbuds and stages for six-plus years now, with 2018’s debut album You’re Really Something remaining a must-listen for all self-respecting rock music fans. They’ve since toured with The Who (opening for them at Madison Square Garden and London’s Royal Albert Hall) and Kiss, further honing their live sound and bringing that back with them into the studio, first on this April’s Friends With Benefits EP (which featured collaborations with Townshend, Kiss’ Tommy Thayer, and drag legend Trixie Mattel), and now on their Pete Townshend-produced concept album, Afterglow (released September 13th via PEG Records).
Afterglow is a captivating rock record with an intriguing choose-your-own adventure narrative and a storyline befitting a Stranger Things season arc. There’s paranormal phenomena, a small fictional town (named Valentine), and plenty of nostalgia-inducing elements – but what shines brights is the sheer power and passion The Wild Things bring to every track, whether it’s the breathtakingly bold album opener “Only Attraction,” the cinematic and sweltering title track, or the spirited, rip-roaring romance of “Come Around.”
“‘Come Around’ is a song about finding your person at the end of the night, and seeing all the possibilities that lay ahead,” The Wild Things tell Atwood Magazine. “We wanted a more pop rock focused song in our Afterglow story, and Pete Townshend loved the juxtaposition of this song against some of the heavier ones on the album – plus, if you watch the scene in our teaser trailer inspired by ‘Come Around,’ you can hear Townshend doing some sublime acting!”
What makes The Wild Things so damn exciting is that the music doesn’t just match the hype; it altogether surpasses even the wildest expectations. Afterglow is worth its weight in gold, and certainly deserves all the attention it gets as an unapologetic and uncompromising high-intensity fever dream.
:: “Last Forever” – Sarah Klang ft. Fruit Bats ::
Mitch Mosk, Beacon, New York
Easily one of the most intimate and provocative love songs I’ve ever heard, Sarah Klang and Fruit Bats’ “Last Forever” unpacks love’s complexities through a relatable and realistic lens while truly holding nothing back. From the moment the track opens – tenderly, yet already in a state of heartache and reckoning – to its spirited, dramatic, and churning finale (where both parties are trying desperately to believe in ‘happily ever after’), Klang and Eric D. Johnson take our ears, minds, and souls on an intense and impassioned journey: One that hurts in the very best of ways. That it resonates so deeply inside is a testament not just to both of their individual talents as songwriters and singers, but also (can’t believe I’m saying this) to the power of love, and its hold over our hearts; after all, we don’t necessarily get to choose who we fall in love with, or how we act when we’re deep in the thick of it; love is a strange and untamable beast, and you never know when you might fall prey.
I’ve got two issues with you and one of them is that you love me
I can’t stand the way you look at me when I’m mad
The way you smile and say we’re all right
Even though I know that I messed up
How come you always let our good side shine through
“This collaboration was an eye-opener to me because it immediately opened two creative worlds,” Klang, for whom this duet is a first, tells Atwood Magazine. “Suddenly there were two perspectives, and that is very new for me to have. To get to work with someone I admire so much was a dream come true, and I felt like it made me a stronger writer too.”
Atwood Magazine featured the Swedish Grammy winning singer and songwriter last year around the time of her fourth studio album’s release. “Cinematic and breathtaking, Mercedes is Sarah Klang’s emotionally-charged coming-of-age,” we wrote at the time. “[She] is at her most vulnerable and her most vivid as, inspired by pregnancy and the birth of her first child, she dives headfirst into what it means to be human and what it means to be alive, here, today… Breathtakingly beautiful and achingly soulful, this album is sure to resonate with all who, like Klang, are on their own spiritual journeys.”
Fruit Bats’ Eric D. Johnson spills his soul in the track’s second verse, his voice a vessel of raw, aching, palpable emotion as he moves the song’s story forward, further reckoning with the highs and lows of love. “When I cry you say you’re right, even though I know it’s all messed up,” he croons. “How come you always let our good side shine through?“
I’ve got two issues with me
and one of them is that I need you
I can’t stand the way I always
go back to where you are
When I cry you say you’re right
even though I know it’s all messed up
How come you always let
our good side shine through?
And it’s on that last note where everything changes, and a tender acoustic folk rock ballad becomes a sonically (and emotionally) charged indie rock fever dream.
“When Sarah and her writing partner, Theo Stocks, brought this sketch in, I was already all in on it going on the album,” Johnson tells Atwood. “The opening line: ‘I’ve got two issues with you, and one of them is that you love me…‘ just devastated me out of the gate. The song starts off as a lilting waltz, then turns into a chugging, desperate rock anthem and fades off into the sunset. When they suggested I sing a verse, and we turn it into a proper duet, I was honored and intimidated. I love that each verse comes from a different perspective – and then ends on intertwined stories about lovers trying to figure out the balance of life.”
Could our love last forever
Or is this just a thing people
say but it never comes true
I want to believe it like you
At just over three minutes and change, “Last Forever” may itself not last forever, but in that relatively short span of time, Sarah Klang and Fruit Bats successfully capture a very real kernel of truth about love and relationships: That love is hard, but beautiful – and worth every tear shed, every bit of effort expended on it, every second spent making it come true. Whether you yourself are deeply entrenched in the valley of love, or looking for someone to spend your life with, “Last Forever” is a spellbinding ode to love that will have you spilling your soul like your life depends on it.
Could our love last forever
Or is this just a thing people
say but it never comes true
I want to believe it like you, you, you, like you
:: “Sweat” – Izza ::
Chloe Robinson, California
When a strong chemistry is present, there is no denying that craving to be close. Izza has crafted a high intensity track that will make you want to ‘sweat.’ “Sweat” is a sensual pop paradise detailing a desire you get behind closed doors. Passionate vocals pour over a Britney style beat and we are down for this blistering banger. She reveals, “I wanted to write a 2000s pop hit type of song that you could dance to and feel like your best self. This is my favorite era of music so I wanted to put my own spin on it.”
A pop singer, songwriter, and producer, she is gifted in multiple musical roles. Known to turn up the tempo, not only does her music have feel-good backdrops, but also portrays positive, uplifting messages that truly elevate listeners. Being the proficient talent she is, it is no wonder she has gotten to share the stage with greats like Chris Martin and Elohim. “Sweat” brings that skill to life in full force.
:: “PEACHES” – Snotty Nose Rez Kids ft. Princess Nokia ::
Josh Weiner, Washington DC
In 2021, I strolled onto the enclosed baseball fields of Grant Park in Chicago and came across none other than the lovely Princess Nokia at the T-Mobile Stage. Her clothing my have been limited – a common trend amongst all of the attendees there, to be fair– but her vocal prowess was definitely impressive, and she ultimately emerged as one of my favorite acts of the day (and given that I caught Dermot Kennedy, Brittany Howard, Brockhampton and the Foo Fighters all at once that day, that’s saying something!)
Three years later, it’s nice to get an update as to what Princess Nokia has been up to lately, and it turns out that the answer is a surprising one– she has been trading bars with the Canadian hip-hop duo, Snotty Nose Rez Kids. “I got karats in my teeth like I’m chewin’ on some vegetables,” these rappers from the Haisla Nation British Columbia declare. And in response, the Puertorriqueña Princess from NYC raps: “I’ve been seeing the future and it’s brown and red,” a nod to the racial heritage of everyone involved on the track.
It seems like all that verbal energy I saw onstage from Princess Nokia at Lollapalooza has been well bottled-up over the past three years! The Snotty Nose Red Kids have achieved a memorable collaboration with her on “PEACHES,” and I’m excited to follow through on that by listening to their only-recently-released new album, Red Future!
:: “Timeless” – Tangerine ::
Mitch Mosk, Beacon, New York
“We can’t outrun the night, so we learn to love darkness,” Tangerine’s Marika Justad sings in the band’s first song in three years. “Running out of time, but that’s not our problem, no, we’re timeless you and I…” A visceral, emotionally charged song of connection and yearning, intimacy and countless words unsaid, “Timeless” is as enchanting as it is invigorating: A proper reintroduction to the LA-based duo of Marika Justad and Toby Kuhn if ever there was one, and a memorable first look at their upcoming debut album, You’re Still The Only One (due out October 25th).
I wanna leave me at your mercy
Fire on the mountain, slow descent
I’m gonna leave me in the crosshairs
In a world so sweet and violent
“There’s this uneasiness, this little tug of instability beneath it all,” Justad tells Atwood Magazine. “Sensuality, nature… wanting to feel connected to the organic world, the good and the bad, the blood, the guts, the romance, the sex, the fruit, the rot, the seeds… everything. All of this was on my mind as I began writing.”
Tangerine have been active in one form or another since 2013, and have an extensive back-catalog well worth the deep dive (2018’s “Cherry Red” off their White Dove EP is a personal favorite). Arriving over a decade since their debut, “Timeless” is a particularly dreamy moment of self-expression from the band – a song that harnesses both their pop and rock roots to great effect as they steadily emerge as one of this and next year’s artists to watch!
I know this time I know this place
Been here before and memorized your face
All this time I can’t deny it
You’re my baby
Yeah that’s timeless
Again and again, I’ll be your friend
Again and again
I wanna stay this way forever
Raw and tender as a bruise
Do you wanna dance to the rock n roll band?
They could break your heart and put it back together again
You know this time
You know this place
Been here before
You memorized my face
All this time, you can’t deny it
I’m your honey
Yeah that’s timeless
Again and again, I’ll be your friend
Again and again
We can’t out-run run the night
So we learn to love darkness
Running out of time
But that’s not our problem
No, no no we’re timeless you and I
Fire on the mountain, slow descent
Again and again
Again and gain, I’ll be your friend
Again and again
Again and again, I’ll be your friend
Again and again
:: “Closer” – OWBY ::
Danielle Holian, Galway, Ireland
OWBY’s new single “Closer” is an immersive experience that seamlessly blends R&B, electro, and new wave elements into a captivating sonic journey. With its atmospheric production and stirring melodies, the track conveys a powerful message of strength and recovery. The fusion of intricate beats with OWBY’s smooth vocals creates an emotionally charged atmosphere, pulling listeners into the narrative of personal growth and empowerment.
The production stands out with its hypnotic rhythm, layered with elegant choral harmonies that elevate the emotional depth of the track. OWBY’s vocal delivery is both intimate and expansive, weaving through the lush instrumental arrangement with precision. The song’s dynamic builds, from its soft introspective moments to anthemic crescendos, mirror the emotional arc of overcoming challenges, making ‘Closer’ resonate on a deeply personal level.
Though difficult to pin to a single genre, “Closer” demonstrates OWBY’s skill in crafting a sound that is both familiar and innovative. His lyrical storytelling, rooted in universal human experiences, transcends musical boundaries, blending styles refreshingly and unexpectedly. This release stands as a testament to OWBY’s ability to push the envelope, creating music that feels both timeless and forward-thinking.
:: “i guess i like you (a lot)” – Lucky Iris ::
Danielle Holian, Galway, Ireland
Alt-pop duo Lucky Iris continue their ascent with the release of their radiant new single, “i guess i like you (a lot),” the third track from their highly anticipated upcoming EP, Something to Believe In. True to their self-proclaimed ethos of “making music to dance or cry to,” the duo delivers a hyper pop-inspired synth-pop anthem that combines emotional depth with infectious energy. The single adds to their growing reputation for crafting catchy, danceable tracks that strike a balance between pop appeal and indie authenticity.
The track opens with a wall of high-energy, fizzing synths, underpinned by grinding electronic bass and a relentless 4-to-the-floor beat, creating a spikey yet irresistible backdrop. Drawing sonic inspiration from Charli XCX’s, brat, Lucky Iris inject their own personality into the mix, with Maeve’s soft, sweet vocals weaving through the production’s intense energy. The result is a euphoric yet emotionally charged soundscape that captures the highs and uncertainties of infatuation, delivered with a radiant charm that’s hard to resist.
“i guess i like you (a lot)” stands out not only for its commercial appeal but also for its alternative edge, showcasing the duo’s talent as both songwriters and performers. Maeve’s playful yet vulnerable lyrics float effortlessly over the track’s glittering electronic production, offering a relatable narrative that is as catchy as it is heartfelt. The duo’s ability to blend hyper pop influences with a more grounded emotional core elevates the track beyond a simple dance anthem. “i guess i like you (a lot)” cements Lucky Iris as a rising force in the alt-pop scene, leaving fans eagerly awaiting the full EP release.
:: “Henry” – Raavi ::
Mitch Mosk, Beacon, New York
A light and lilting song about decidedly heavy subject matter, Raavi’s “Henry” is as beautiful as it is heartbreaking: An achingly (bitter)sweet acoustic enchantment that leaves a lasting mark on the ears and the gut. In just one and a half minutes, the Brooklyn-based band unpacks a relationship from singer/songwriter and guitarist Raavi Sita’s youth, and how it shaped her perspective not only of herself, but also of how the world sees her, and as a result, treats her.
Don’t worry Henry
Your secret’s safe with me
Don’t hurry Henry
The night is young and your eyes
are burning holes into me
“‘Henry’ is a dissection of many experiences I had with boys during my formative years,” Sita tells Atwood Magazine. “It’s about realizing I wasn’t being seen by the boys and men in my life as just myself, but as a girl first. I grew up androgynous, able to act like a chameleon to fit in with my male and female friend groups with relative seamlessness in which my tomboy gender expression, while definitely acknowledged by my peers, also gave me a freedom to exist in both gendered worlds to some degree.”
“At some point this reality came crashing down on me. I experienced what I think a lot of gender nonconforming kids go through in that I went from being viewed as Raavi, to Raavi the girl and all the implications that being a girl comes with.”
We don’t get to choose how other see us – even if we should. Even if that feels like our natural right. Folks will (almost) always judge based on what they think they see first, and if we’re lucky, they’ll ask questions after such snap judgments and amend their perspectives. But that’s all easier said than done, and in “Henry,” Raavi – which also includes Justin Termotto (Guitar/Production), James Duncan (Bass) and Jason Block (Drums) – are simply taking some space to acknowledge and process the cruel realization Sita herself had, in learning that she was not, in fact, in control of her own narrative.
And to some degree, none of us is. We all have a “Henry” in our lives: A friend (or ex-friend) who sees us differently than we see ourselves, to the point where the relationship becomes strained; to the point where it hurts; to the point where they can’t necessarily be in our lives any longer. That’s real turmoil, and in under two minutes’ time, Raavi remind us that we’re not alone in our experiences – even the ones that make us feel like the loneliest person in the world.
Don’t hate me, Henry
Now you know I’m not like those other girls
Don’t hurt me Henry
So closed off now
Did you change your mind
Oh Henry you’re no friend of mine
:: “Take Me To Beijing (一起回北京)” – Chinese American Bear ::
Mitch Mosk, Beacon, New York
It’s hard to deny the dreamy, emotional pull of Chinese American Bear’s latest single. For the Seattle-based duo, that ethereal weight led Anne Tong back to Beijing, her very first hometown and site of her earliest memories. But “Take Me To Beijing (一起回北京)” isn’t just about one soul’s wistful reverie; it’s a song that brings all of us back to our roots, to our childhood selves, to the places and spaces that made us who we are today. It’s a warm, synth-soaked nostalgic journey, sung in both English and Mandarin, that aches with tenderness and longing; a song into which we can dive headfirst, both to bask in the depths of Chinese American Bear’s world, and to dwell in our own.
Take me ‘cross the ocean
Take me to the sea
Take me to the kingdom
Take me to Beijing
Take me to your hometown
Let’s drink some oolong tea
Show me where you first loved
Show me your family
Released August 27 via Moshi Moshi Records, “Take Me to Beijing (一起回北京)” is the latest single taken off Chinese American Bear’s forthcoming sophomore album Wah!!! (out October 18), and a striking display of the duo’s blend of Chinese mando-pop and Western indie pop sensibilities. Following recent singles “Feelin’ Fuzzy,” “Heartbreaker,” and “Yummy Yummy Yummy,” the poignant, bittersweet “Take Me to Beijing” also finds the band – comprised of Anne Tong and her husband, Bryce Barsten – at their most introspective, lurching into the past and letting their souls linger in faraway memories that can often feel like they were pulled not just from another time, but another life.
“This is my favorite song on the album,” Tong tells Atwood Magazine. “When Bryce first showed me the chords and synth sounds to this song, I immediately felt strong feelings of nostalgia and wanted to write about something that holds a lot of happy childhood memories for me. I lived in Beijing prior to elementary school and then spent my childhood summers visiting Beijing after my parents immigrated to the U.S. I wanted to share those joyful memories of visiting beautiful and bustling Beijing in the hot summers with lyrics on ‘eating jianbing, drinking oolong tea, exploring the Great Wall,’ and returning to the place where I first learned about love and family.”
Dai wo qu kan chang cheng (take me to see the Great Wall)
Dai wo chi jian bing (take me to eat savory crepe)
Dai wo can guan hu tong (take me to visit hutongs)
Dai wo qu Beijing (take me to Beijing)
Gen wo qu kan yan huo (come with me to see fireworks)
Zai tian shang liang jing jing (shining so brightly in the sky)
Gen wo qu kan jia ren (come with me to see family)
Yi qi hui Beijing (let’s return to Beijing together)
There’s also something to be said about this song’s seamless blend of languages – a trait that is sorely lacking, especially in the Western pop canon. “Kids of immigrants often just want to fit in, to assimilate, especially in school,” Tong says. “Japan really exported their culture in the ’90s, and in the last 10 to 15 years Korean culture has become huge… But we’ve heard from so many fans that hearing me sing in Chinese has made them feel proud to speak Chinese for the first time.”
“I love singing our songs in both Chinese and English because I feel culturally both Chinese and American in equal parts,” she adds. “I enjoy expressing myself through both languages and hope to connect with those who have similar mixed cultural heritages.”
Sink into Chinese American Bear’s latest musical blanket, and let their art wrap itself around your ears and heart. Soothing, seductive, and altogether stirring, “Take Me to Beijing (一起回北京)” is an enchanting expression not just of nostalgia and childhood, but of our nuanced identities – and how we can welcome and embrace all those things that make us a full, rounded person, celebrating our complexities and the diversity not just around us, but within every single one of us as well.
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