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 Sabrina Carpenter & Dolly Parton, Isolated Youth, Aistis, Alejandro Aranda, Annie-Rose Maloney, August James, Bright Light Bright Light & Donna Lewis, MARKETPLACE, Blue Slate, charlieeeee & Phoebe Hall, Dave Curl, Cash & Skye, Lola Wild, Ellie Dixon, Lilly Bedard, and young friend!
•• •• •• ••
follow WEEKLY ROUNDUP on Spotify
•• ••
:: “Please Please Please” – Sabrina Carpenter ft. Dolly Parton ::
Bárbara Martínez Campuzano, Mexico
You’ll have to listen to “Please Please Please” with a taste of the country genre. Released this past Valentine’s Day, the deluxe edition of Sabrina Carpenter’s latest album, Short ‘n Sweet, contains a new version of its second track with the legendary country singer, Dolly Parton. Aside from the country twist, the song has undergone lyric changes such as the swear words that accompanied “Heartbreak is one thing, my ego’s another, I beg you, don’t embarrass me like the others.” This omission was addressed by Parton, saying that she can’t say those words for her kids.
This song is worth the listen not only because it shifted from pop into a more country scenery, but because two popular, praised artists from two different generations have shown their talent in vocals and even in the track’s new music video, in which Parton takes place as a protagonist. Towards the end of the video, there’s a surprise that has kept Carpenter’s fans talking… especially those who know about her recent past relationship with Barry Keoghan.
:: “Love Locked in a Dark Room” – Isolated Youth ::
Mitch Mosk, Beacon, New York
A fiery, feverish post-punk haze blankets the senses as Isolated Youth’s first single of the year roars to life, engulfing the ears in a raw, inescapable sonic (and emotional) heat. Released January 14th, “Love Locked in a Dark Room” is a cathartic and captivating, charged and churning show of brute force – and remarkable talent – from the Swedish band. The lead single off their forthcoming debut album miserere mei (out April 4th) rages with thrashing drums and brash guitars, simultaneously calling to mind hard rock heavyweights like Muse and post-punk legends like The Cure, as vocalist Axel Mårdberg spills his soul with dramatic poise and exhilarating energy.
“‘Love Locked in a Dark Room’ was the first song we wrote for the album Miserere Mei,” Isolated Youth’s William Mårdberg tells Atwood Magazine. “Faris Badwan of The Horrors first heard it through a livestream of our performance at the Norrtälje Art Center, a remote coastal city outside of Stockholm, where we are from. It sparked the rest of the album because it gave us the first clue about the direction the rest would take. The track has a nocturnal aura yet an upbeat vibe. ‘Love Locked in a Dark Room’ features a classic blues pattern strumming in the verse, which then breaks into an emotive chorus.”
“The lyrics describe being out on a ‘cold, dark, violent night’ and, to some extent, feeling trapped in nightly environments without an escape plan. Or perhaps like being underwater and looking up to the surface, finding someone else in this setting, and suddenly realizing later the same night that there’s something bright and pure that cuts through the noise and brings you back above the surface. Then, everything else that happened feels like a nightmarish, strange dream, and in that moment, realizing that you don’t want the other person to leave… Like love locked in a dark room.”
The end result is an unapologetically intense, darkly romantic, spine-chilling reverie. As boldly unrelenting as it is utterly breathtaking, “Love Locked in a Dark Room” hits hard and leaves an instant mark, ensuring all ears follow the band in the lead-up to their debut.
Isolated Youth have, in one song, made their claim to 2025 – and it’ll be on to other bands to live up to the example set by “Love Locked in a Dark Room.”
:: Caviar for Seagulls – Aistis ::
Danielle Holian, Galway, Ireland
Aistis’ Caviar For Seagulls is a masterclass in art-folk storytelling, blending grandiose orchestration with piercing self-examination. Each track unfurls like a scene from an old Hollywood film, steeped in melancholic beauty yet charged with a restless, searching energy. The lush instrumentation – swelling strings, wistful pedal steel, and bursts of brass—frames Aistis’ poetic lyricism, lending a theatrical weight to his introspective musings. This is an album that doesn’t just ask questions; it wrestles with them, allowing its fragmented vignettes to build into a strikingly immersive and deeply personal journey. As Aistis navigates the corridors of his past, his voice – both vulnerable and wry – acts as a guide through the shifting landscapes of memory, regret, and redemption.
Yet, for all its self-reckoning, Caviar For Seagulls is not weighed down by despair; rather, it finds an odd, shimmering hope within its introspections. Tracks like “Rejoice” offer cathartic release, while “86/Dove” pays homage to Leonard Cohen’s enduring wisdom, embracing acceptance over resistance. Even at its most self-critical, the album never feels indulgent—it is, instead, a beautifully crafted study of the human condition, delivered with Aistis’ signature wit and candor. His collaboration with co-producer Niall Mutter and engineer Gilles Castilloux has resulted in a record that is both expansive and intimate, solidifying Aistis as one of the most compelling voices in contemporary folk. With Caviar For Seagulls, he proves that the best storytelling doesn’t just reveal the artist – it invites the listener to see themselves reflected in the depths.
:: “Dissonant Harmony” – Alejandro Aranda ::
Rachel Leong, France
Alejandro Aranda recently returned under new alias, releasing the single “Dissonant Harmony.” Formerly known as Scarypoolparty, Aranda’s new track marks a new beginning for the artist. With rhythmic acoustic guitar riffs and smooth vocals, “Dissonant Harmony” is a bittersweet and bright track steeped in nostalgia.
The track croons, “Feels like I’m waiting, separating from the time zone / Feel like I’m fading to the distance of the unknown / Feel like I’m falling, but I’m longing just to come home”, posing an anthem for the emotional signals of that free fall into the future.
After his success as a finalist on the 17th season of American Idol in 2019, Alejandro Aranda became an indie superstar with his unique blend of alternative pop, indie, and acoustic styles combined with emotional lyrics and his impressive guitar skills.
:: “I Run From Pain” – Annie-Rose Maloney ::
Mitch Mosk, Beacon, New York
“I run from pain before it hurts,” sings a naked and raw Annie-Rose Maloney, their tender voice heavy on the mic alongside a lone, hauntingly bare acoustic guitar. “Before I get the time to think and make it worse.” Dwelling in infinitely vulnerable depths of introspection, “I Run From Pain” aches inside and out as the Naarm/Melbourne-based singer/songwriter reckons not just with themself and their own behaviors, but with the often cruel ebbs and flows of life itself.
It’s a song born from a lingering, unavoidable sadness within and without; a dark and honest confession sung to, and for, the self.
I run from pain,
Before it hurts,
Before I get the time to think
And make it worse.
I’m always numb, is that okay?
Or am I losing out
From not learning how to stay?
“I wrote ‘I Run From Pain’ many years ago when I was deeply sad and disconnected from myself and other people,” Maloney tells Atwood Magazine. “The song asks many questions about life and pain. When I wrote it, I was really trying to understand how people connected with one another, because I never felt like I was able to do it. I felt like I had a huge part of myself missing and it was quite harrowing.”
“The words to the song were written very quickly. In virtually less than half an hour, the whole song was created. I really had difficulty singing ‘I Run From Pain’ at the beginning because of the sadness I felt when I sang the words. Although it was written some time ago, the themes are still relevant to me today.”
We’re dying off, we’re getting cold.
I’ll stand alone when I am old.
Then where will I run, what will I do?
What’s the point of living without you?
It doesn’t get rawer than this – and it’s that unflinching, visceral pouring out of the self that makes Annie-Rose Maloney as relatable as “I Run From Pain” is gut-wrenching. In baring their soul to the world, the alt-folk artist has tapped into a deeper strain of our shared humanity – the intimate stuff that feels unbearably isolating, yet in fact, has the power to bring us all together.
Are you the same,
Or do you hurt?
Have you loved and lost
And got what you deserve?
Is there regret, or is there none?
Do your eyes say
You have peace with all you’ve done?
We’re dying off, we’re getting cold.
I’ll stand alone when I am old.
Then where will I run, what will I do?
What’s the point of living without you?
I’m reminded of Neil Young’s “My My, Hey Hey” – another song that not only sent shivers down the spine, but also opened me up to feelings I had never fully expressed, or understood, before. In a similar fashion, “I Run From Pain” evokes the unevocable and expresses the inexpressible – putting music to a feeling that often leaves us empty and drained, and at a loss. Sad and somber though it may be, this song is a true gift, and one that will surely be cherished forevermore.
Never have I ever wanted it more.
You see it in my face,
I’m all out of place, my love.
And the life I loved to talk about
Is falling through my hands.
Who’s gonna be there
When we turn it all around?
:: “Montana Riverbeds” – August James ::
Mitch Mosk, Beacon, New York
Tender, soft, and haunting, “Montana Riverbeds” is the kind of song that both soothes and stirs the soul at once. The latest offering from singer/songwriter August James finds the Minnesota-raised, Los Angeles-based artist dipping his toes in both the folk and indie worlds at once, employing gentle guitars and synths (and his own hushed, soul-stirring voice), together with a striking drum loop and tasteful sampling, to create something altogether fresh, bold, and breathtakingly beautiful.
“I wrote ‘Montana Riverbeds’ about feeling like someone was using me as a distraction from who and what they really wanted,” James tells Atwood Magazine. “‘Montana Riverbeds’ is an old Hollywood Rom-Western in song form – I’ve always been compelled by the American West as a classic metaphor for yearning and escape; those themes and that backdrop fit perfect for story of lost love I tell in the song.”
James’ performance is romantic, it’s endearing, and it’s ultimately all-consuming: A blanket of warmth for the ears and the heart. An insight into his next EP (details TBD), “Montana Riverbeds” is both a wondrous display of human emotion, and a captivating show of talent from an artist full of promise, potential, and raw emotion.
:: “Enjoy Youth – Welsh Version” – Bright Light Bright Light, Donna Lewis ::
Grace Holtzclaw, Los Angeles, CA
Bright Light Bright Light and Donna Lewis are two Welsh artists who come together on “Enjoy Youth – Welsh Version” for a moving tribute that pays homage to their shared home country. Donna Lewis lends her legendary voice to the track, as recognized from her platinum-selling career and groundbreaking single, “I Love You Always Forever”. Her vocal paired with Bright Light Bright Light’s eclectic electronics makes for an elevated, uplifting, and truly unforgettable partnership between the two artists.
“Enjoy Youth” is a transcendent listen that notes on the peaks and valleys of life that lead us to the present moment. Donna Lewis sings, “It’s been cruel and it’s been kind / We’ve filled our hearts and filled our minds.” Packed to the brim with fleeting electro-pop sonics, sparkling synths, and stirring harmonies, “Enjoy Youth” sets the scene for a reflective journey through our own memories.
Produced by Rod Thomas and GRAMMY-nominated producer Jon Shave, “Enjoy Youth” is a seamless collision of sheer artistry. For Bright Light Bright Light who grew up listening to Lewis, this single is a cornerstone in his career as a musician. He feels lucky and inspired to work with her and that same spirit carries through in the music itself.
:: “Ode to Monty” – Marketplace ::
Danielle Holian, Galway, Ireland
MARKETPLACE’s “Ode to Monty” is a charmingly offbeat indie-pop gem that seamlessly blends satire with sincerity. With its shimmering synths, punchy guitar riffs, and driving rhythm section, the track radiates the vibrant energy that has become the band’s hallmark. While love songs often lean into sentimentality, “Ode to Monty” flips the script, humorously centering around the unlikely romantic figure of “Gardeners’ World” host Monty Don. Evie Rhodes’ charismatic lead vocals strike the perfect balance between playful and heartfelt, wrapping the tongue-in-cheek concept in a genuinely infectious melody. The result is a song that feels both refreshing and effortlessly fun, proving MARKETPLACE’s ability to craft music that is as clever as it is catchy.
Beneath the humor, “Ode to Monty” is a testament to MARKETPLACE’s evolving sound – one that nods to their influences, from Pulp to Alvvays, while remaining distinctly their own. Chad Rodgers’ production captures the essence of their dynamic live performances, allowing the band’s tight musicianship and undeniable chemistry to shine. The rich interplay of bass, synth, and vocals adds a level of sophistication to the track, showing that MARKETPLACE is more than just a band with a sense of humor; they’re a group with serious musical chops. As they continue to carve out their place in the indie-pop scene, “Ode to Monty” serves as a brilliant example of their ability to mix wit with warmth, delivering a single that is as memorable as it is delightfully unexpected.
:: This Is How I Sleep At Night – Blue Slate ::
Danielle Holian, Galway, Ireland
Blue Slate’s debut EP This Is How I Sleep At Night is a stunning introduction to a band poised for greatness, effortlessly merging New Wave melancholy with shoegaze’s swirling intensity. Across its tracks, the Irish four-piece crafts a sound both nostalgic and urgent, with raw, jangling guitars and piercing lyricism that cut straight to the core. The title track stands as the EP’s defining moment – an alt-rock powerhouse drenched in reverb and distortion, evoking the dreamy allure of DIIV while channeling the unfiltered energy of The Velvet Underground.
With echoes of Manic Street Preachers’ fearless lyricism and a dynamic range that sways between indie introspection and grunge-fueled chaos This Is How I Sleep At Night cements Blue Slate as a force to be reckoned with in modern rock.
:: “KNOW ME” – charlieeeee & Phoebe Hall ::
Mitch Mosk, Beacon, New York
I will readily admit that most hyperpop music has eluded me to date – but not this track. I don’t know if it’s the BRATification of everything, my own changing tastes, or the addition of certain alternative influences, but charlieeeee and Phoebe Hall’s new collaboration hit me like a ton of bricks. As infectiously catchy as it is sonically charged, “KNOW ME” is a technicolor fever dream full of big, bold sounds and raw, visceral emotions. It’s an intimate expression of charlieee’s own non-binary identity – a song that captures both their personal journey to self-knowing and understanding, as well as their interpersonal frustrations – feeling not seen, heard, and understood by those around them, even those closest to them.
And what do we do when the pent-up emotions become too much to bear? We let them all out in dizzying, dazzling song.
“‘KNOW ME’ is about the journey of growing into yourself, but out of some people close to you,” charlieeeee tells Atwood Magazine. “For me, the song is specifically about coming out as non-binary, and some people close to me not really understanding or taking the time to understand what it means.”
snap back, your heads in the sand
your face down,
and you don’t even know who i am
you like the fact i don’t react
honestly i don’t wanna leave it like that
you don’t even know me at all…
“But in a wider sense, it can be that really difficult feeling when there are people that think they know you better than you do, and are making decisions on your behalf without really looking and listening to you. It was a real pleasure working with Phoebe on this track, as we have had a lot of parallels in our lives.”
To that end, Phoebe Hall expresses how working with charlieeeee was not only an exciting, but also an inspiring process. “It’s not often that you meet an artist who has created such a world around them and their music,” Hall shares. “From basically strangers on the internet who thought it was funny we looked similar, charlieeeee has become one of my favourite people to work with. It’s allowed me to try out a really new sound and explore themes and ideas with someone who really gets it.”
i’d say it’s easier acting like i don’t care
but it feels like i’m circling a nightmare
trying to prove myself to you
I reduce myself for you
so i take myself out of spaces
ignore the ways i’ve been changing
but you still stare
tell me what to wear
don’t know why i’m caught up in caring
charlieeeee’s lyrics sting; there’s a brutality to this unflinching level of honesty. “It feels like I’m circling a nightmare trying to prove myself to you; I reduce myself for you.”
Arriving on the heels of last October’s single “HAPPY BIRTHDAY,” “KNOW ME” isn’t just a track of personal import to charlieeeee; it’s a universally important song recognizing the need for empathy, tolerance, and compassion in our global society. At a time when hate and discrimination are being peddled from the highest echelons of power and political office, music and art like this is not just a means of self-expression, but a tool against oppression: A means of reinforcing the universal need for tolerance, for acceptance, and for love throughout the world.
What does it mean to ‘know someone’? On the surface, it’s a complicated question to answer, but if we just stop and listen with open ears, open minds, and open hearts, the truth is that knowing someone is actually one of the easiest things a human being can ever do.
snap back, your heads in the sand
your face down, and you don’t even know who i am
you like the fact i don’t react
honestly i don’t wanna leave it like that
you don’t even know me at all…
feel it right down the center
think i’ll be this way forever
just want you to get it right
take my hand it’s now or never
don’t push me away forever
won’t waste time trying to get it right
or you’ll never seen me again!
:: “Fool in Love” – Dave Curl ::
Danielle Holian, Galway, Ireland
Dave Curl’s “Fool in Love” is a masterful blend of raw emotion and infectious melody, a song that feels both deeply personal and universally relatable. Written three decades ago but only now seeing the light of day, the track carries the weight of time, allowing listeners to step into the heart of Curl’s youthful uncertainty. His soulful vocals glide effortlessly over a polished pop arrangement, weaving a tale of love’s contradictions – the joy, the confusion, and the aching search for something just out of reach. The song’s strength lies in its honesty; it doesn’t offer easy resolutions but instead embraces the messy, beautiful reality of human emotion.
Despite its introspective origins “Fool in Love” radiates a hopeful energy, transforming self-doubt into an anthem of resilience. The shimmering production and memorable hooks elevate the song beyond mere nostalgia, making it a poignant reflection on growth and self-acceptance. Curl’s ability to translate deeply personal experiences into music that resonates across generations speaks to his artistry. As part of his expanding discography, this latest single further cements his reputation as a songwriter who isn’t afraid to lay bare his soul. Whether you’re caught in the throes of love or looking back on past uncertainties, “Fool in Love” is a reminder that the journey of the heart is as compelling as the destination.
:: “Stranger” – Cash & Skye ::
Mitch Mosk, Beacon, New York
It was the dreamy heat of rich, warm vocals and the tender twangs that first pulled me in, and yet now the deeper I dive into “Stranger,” the more I can’t let go. The lead single off Cash & Skye’s debut album Just a Stranger (independently release today) is a cathartic exercise in reflective reverie and artistic restraint. Musically reminiscent of the classic rock/Americana crossovers of the ‘70s, and yet undeniably relevant to today’s social and cultural climate, “Stranger” is a product of the present, with one foot lovingly in the past.
It’s “about how you never know when you’re leaving or where you’ve left because there’s a fish on every side of you and you’re dead center of your school,” Henri Cash – who form one-half of his duo with Sophia Skye – explains. “Knowing you’re dodging nets every day, all the while remembering that one day you’ll get caught. A side of you wants to feel the splintered wood of that ship’s deck just for a sense of change. You’re smelly and you have itchy scales you can’t scratch, because you’ve got fins instead of arms.”
The group’s lyrics evoke a sense of isolation and yearning – a desire to feel an ever-fleeting connection that too often feel out of reach. If only we could break the barriers between us, to the point where strangers become friends, and maybe even something more.
Standing alone
In the garbage line
I’m feeling lost
But she’s looking fine
I’m just a stranger
Of the unattractive type
Dirt on my clothes
Paint on my thumbs
I smell like musk
And im kinda dumb
And I wont talk
‘Cause I don’t wanna waste your time
“I went to Target at around 10:30 PM to grab an extension cord for the studio with Tim and Bill, and the song idea came to me while we were waiting in line,” Henri Cash recalls. “We went back to our basement studio the next morning, and I sat at the drum kit and sang, Tim was on upright bass, Bill was playing acoustic, and I asked my dad to come down and he played some dobro, and we tracked this cool, slow live version to my Fostex 16 track.”
“I was listening to a lot of Jerry Jeff Walker and The Band at the time, and felt like the song really captured some of that kind of energy. But then the more I listened, I thought that it was actually a pretty cool song, and that it might get a whole new life to it if Sophia sang it. So we went back to the basement and I sat at the kit. Tim picked up the Hofner bass, Bill sat at the pedal steel, and we recorded a new version. I overdubbed some guitar and we got it feeling pretty good, then we waited a few weeks for Sophia to get back from New York. Then we tracked our vocals over at 64 Sound, and it just instantly felt like it was gonna be the first single of the record.”
‘Cause I have said some words before
I’ve tried real hard, just to get ignored
I’ll be a stanger
Always walking by myself
I’ve got this song stuck in my head
About the ex-wife I wish I had
I’ll be a stranger
No one will ever look my way
We’ve all been the stranger countless times in our lives; it’s our lot in life to flicker through moments with names and faces we’ll never know, whose stories will forever be a mystery. “Stranger” captures that permanent impermanence, while at the same time recognizing the universality of that experience – how there will forever be two halves to every coin that, like the faces on physical coins themselves, will never see one another, and never know the other side even exists.
And to that I say, bravo.
Picture him
Walking in my shoes
Probably playing to score
But he’s bound to loose
Wont have to walk
To know the pain I’m in
Since I was a boy
I’ve been at sea
I’ve been all alone
No one but me
And I can’t tell you
But I guess I’m gonna try
Cause I have said some words before
I’ve tried real hard just to get ignored
I’ll be a stanger
Always walking by myself
I’ve got this song stuck in my head
‘Bout the ex-wife I wish I had
I’ll be a stranger
No one will ever know my name
:: “Jump the Gun” – Lola Wild ::
Danielle Holian, Galway, Ireland
Lola Wild’s highly anticipated new single “Jump the Gun” offers a mesmerizing glimpse into her forthcoming EP, Lost Signal. A slow-burning ballad steeped in melancholy, the track echoes the heartbreak of unmet expectations and the emotional turbulence of impulsive decisions. Infused with a shimmering 80s production aesthetic, the song is a perfect blend of nostalgia and modernity. Produced by Jim Wallis (Still Corners, Modern Nature) at London’s legendary Strongroom Studios, “Jump the Gun” transports listeners into a dreamlike haze, with layers of reverb enveloping Wild’s hauntingly beautiful vocals. It feels as if the song is being played from a distant past, with Wild’s confessional lyrics echoing through a neon-lit, empty room.
The song invites introspection, exploring the delicate balance between self-awareness and the anxiety of waiting for things to go wrong. At its core, “Jump the Gun” is a candid exploration of Wild’s internal dialogue, capturing both her insecurities and the consequences of acting on impulse. With its thought-provoking themes and infectious energy, the single is a perfect introduction to Lola Wild’s upcoming EP, showcasing her rare ability to combine timeless influences with her uniquely captivating voice and vision.
:: “Guts” – Ellie Dixon ::
Mitch Mosk, Beacon, New York
English singer/songwriter Ellie Dixon has proven herself a singular, stunningly creative presence in recent years, and she continues to reaffirm this truth in her latest single. Released January 23rd, “Guts” marries the dramatic with the dreamy as Dixon reckons with past and present identities, delving into herself with the strength of a ten-tonne wrecking ball.
I was never much fun
Too much and I’m done
Running home late
I’m jumping the gun
Was never much fun
Too much and I’m
Da da da da done
Wish I had the guts
Wish I had the gall
Wish that I was big strong
Did it all
But I’m a little scared
I’m a little small
Wish I had the guts
Wish I had the guts
Guess I’m empty that sucks
“‘Guts’ was born from a conversation I had with some friends who were sharing stories from their teenage years,” she tells Atwood Magazine. “As everyone told tales of parties and dates and rebellions I had nothing to contribute. As a nervous kid I wasn’t going out, wasn’t dating, wasn’t having the same sorts of adventures.”
“In that moment, I saw all of these experiences I had missed because of my anxiety, and I felt a welling of anger. ‘Guts’ is a therapeutic outlet for that anger. A party song for the people who weren’t at the parties. A song to shout out loud for the people who didn’t shout.”
Cuz I was never much fun
Too much and I’m done
Running home late
I’m jumping the gun
Was never much fun
Too much and I’m
Da da da da done
Any song that begins with the line, “I was never much fun,” is sure to hit hard, and “Guts” is an especially volatile sonic and emotional upheaval. Dixon’s confession opens into a feverish sonic eruption, her delicate voice transforming into a singular, seductive volcano – a wellspring of inner heat and raw, raucous fervor. Heavy drums churn, guitars roar, Dixon’s voice rages, and the whole song rushes with the weight and endless energy of a mighty waterfall: Relentless, wild, and unstoppable.
Intimate though it may be (with powerful notes to self like, ‘I’m brave for just being here’), “Guts” is truly magnificent.
So I puff my chest out
Breathe the rest out
Won’t keep my head down
That’s enough now
Adrenaline just to take the bins out
Deafening
Overthink and spin out
So I’m not gonna do that any more
Suit of armour when I leave the front door
I can do this, I do this
Heal bruises, feel rooted
I’m moving
I’m not filled with guts
Made of different stuff
I’m not filled with guts
(I’m filled with imagination)
Made of different stuff
(Please excuse my hesitation)
I’m brave for just being here
:: “Not Everything Ends” – Lilly Bedard ::
Danielle Holian, Galway, Ireland
Lilly Bedard’s latest single “Not Everything Ends” feels like a warm hug for anyone who’s ever feared love was fleeting. With a dreamy blend of folk-pop melodies and her signature poetic lyricism, Bedard delivers a track that’s as comforting as it is cathartic. Her voice, rich with emotion, glides over delicate acoustic strumming, building into a soaring realization: sometimes, love really does last. The song’s heartfelt storytelling transforms doubt into hope, making it the perfect anthem for anyone who’s found light after heartbreak.
What makes “Not Everything Ends” so special is its quiet power. It doesn’t rely on flashy production or over-the-top declarations – instead, it draws you in with raw honesty and an intimacy that lingers long after the last note fades. Bedard’s lyrics, like a whispered promise, remind us that love isn’t always about grand gestures; sometimes, it’s about simply being there. Whether you’re a hopeless romantic or a cautious optimist, this song is bound to hit you right in the heart.
:: “i like girls” – young friend ::
Mitch Mosk, Beacon, New York
The catharsis tastes especially sweet and triumphant on young friend’s “i like girls.” The latest single off the artist’s upcoming debut album motorcycle sound effects, out April 4th via CLUBB/Nettwerk, finds singer/songwriter and producer Drew Tarves relishing in a space of self-confidence and self-knowing. It’s not every day we find we’re exactly where we want to be in our lives; often, we’re reaching in one direction or another, yearning or longing or wishing for this and that, to be in this or that place. The goalpost is always moving and ever-shifting, but in “i like girls,” the narrator is satisfied – happy with their lot in life, complete in who they are and what they have.
I’ve been
Purposely seekin’ out bad friends
That won’t be around when my life ends
They never stick up for me
And she’s been
Sleepin’ at my apartment
Askin’ what the line about stars meant
Honey I don’t f*ing know
“I’ve always thought of ‘i like girls’ as the sequel to ‘boyfriend material,’ both thematically and sonically,” Tarves tells Atwood Magazine. “It’s supposed to be an anthem for those that are just enjoying their single lives. This character that I’m writing about is sort of celebrating the fact that he’s figured out what he wants. He’s not ready for a relationship, and ‘i like girls’ is his moment of discovery for this realization.”
She’s got do not disturb on
I think it’s turning me on
She looks so good on my plate
Maybe I just need a taste
Few things are more beautiful, in this writer’s opinion, than the kind of special, smile-inducing self-discovery reflected in young friend’s music and lyrics. More will come – it always does – but “i like girls” is a moment of serenity and calm in the ever-churning storm. It’s a stepping-back; a recognition that this is good, and we can be proud of who we are and how far we’ve come. Even when things aren’t perfect, we’re allowed to give ourselves grace; to smile, to enjoy the ride, and to feel genuinely happy about ourselves.
Props to Drew Tarves for taking that singular, often fleeting feeling, and bringing it to life in song.
Intimacy at your house
Freaking me all the way out
Got bad anxiety
I like girls who think just like me
Used to like when life was easy
Now it sucks cause someone needs me
Caught up with the people leasing
Cried wolf now she won’t believe me
No solutions for the shit that I did
No excuse for the shit that I said
Pretty charmed life as a Canadian kid
So I don’t know how the voices
ever found their way in
She’s got do not disturb on
I think it’s turning me on
She looks so good on my plate
Maybe I just need a taste
— — — —
Connect to us on
Facebook, Twitter, Instagram
Discover new music on Atwood Magazine
:: Weekly Roundup ::
follow WEEKLY ROUNDUP on Spotify
:: This Week’s Features ::
