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 Ray and Paul Holmberg, Evan Honer, Leah Nawy, Ren Martinez, The Stamps, MOSAICS, Adrian Lyles, Levi Robin, Cinema Stereo, Tara Nome Doyle, Zoé Basha, The Moving Stills, August Royals, Sone, SPACE&AGES, Roman Alexander, Virgins, Staci Gruber, Peaceful Faces, San Jose, Glenna Jane, The Pedals, Candice Hoyes, Jefferson Pitcher, & Blue Monkey!
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:: “Scars” – Ray and Paul Holmberg ::
by Anthony Kozlowski, Los Angeles
The latest single from Bay Area sibling duo Ray and Paul Holmberg unfolds like a weathered postcard, frayed at the edges but scribbled all over with nostalgia. Layered guitars weave a gentle but insistent melody that feels like tracing old scars – sometimes painful, sometimes proud – carrying the weight of lessons learned and the hope of moving forward. It is music that honors both the shadows and the light, the sun sinking into the sea only to rise again from the cold and the dark. Underneath the surf and garage rock haze, Ray and Paul wrap the listener in an intimate embrace. A steady tempo simmers with vulnerability, while textured guitar layers and earnest vocals paint a portrait of trying to move forward when the heart still trembles from loss. It’s a sonic journey where each note feels like a carefully placed stitch in a tapestry, giving life to the sometimes harsh process of letting go without losing oneself.
The story behind “Scars” stretches back years to an unfinished piece that finally found life through the hand of producer Jarvis Taveniere, whose touch brings out the song’s textured warmth and emotional depth. Ray penned the lyrics during his freshman year of college as a reflection on the intensity of young relationships and how to pick up the pieces once they shatter.
As much as the wistfulness drips heavily from the song, it continues the brothers’ penchant for crafting music that’s as easy to listen to as it is to be consumed by. Just like the image on that fading postcard, it can bring us back to brighter days even if its surface is riddled with scars.
by Julius Robinson, California
Young love is tricky to get over. There is so much emotion put into it, and that can be hard to move past. Indie rock duo Ray and Paul examine the lasting effects of young love and the weight of that experience with “Scars.” The serene, melancholic piece comes together beautifully with glistening guitars and warm, passionate vocals. Ray wrote the lyrics during his freshman year of college, and it’s a track we can all connect to.
Brothers Ray and Paul, hailing from the San Francisco Bay Area, started their band together at the ages of 17 and 13. Relocating to Santa Barbara for college brought a surge of surf and garage rock energy into their music, giving them the perfect environment to hone their sound. They built their chops playing gigs throughout Isla Vista and quickly became part of the local band scene. In October 2023, they dropped the track “Pelican,” which has since become their most popular song on Spotify. “Scars” is equally intoxicating.
:: “lead role” – Evan Honer ::
Mitch Mosk, Beacon, New York
Nashville’s Evan Honer is fast becoming a personal favorite thanks to his instinct for tender melodies and raw, unflinchingly vulnerable storytelling – not to mention his prolific output! While last June’s sophomore album Fighting For was an undeniable, soul-stirring triumph for the rising singer/songwriter, it was by no means his only release of the year: By the time 2024 was finished, Honer had delivered not one, but two more EPs’ worth of material – first, the four confessional songs of Different Life (September 2024), followed by the five heartrending tracks on annabelle (December 2024).
Each of these tracks deserves its moment in the sun, and today, the spotlight shines (literally and figuratively) on “lead role,” the gently aching second track off annabelle. Brutally honest and painfully poignant, the song offers a bittersweet narrative marked by regret, missed chances, and the unavoidable sting of hindsight as Honer poetically reflects on a past relationship through the lens of a movie he never wanted to star in.
I got the lead role
to a part I never wanted
In a movie where the guy
lets down the girl in the end
I don’t mean to spoil it
but the story lines not all that important
Well it would be if he had realized
what he had when he had it
And the writers don’t seem fond of this guy
‘cause every line was wrong or a lie
And the plot keeps on changing
makes it hard to understand
“This is a very out-of-the-box song for me,” he confesses. “It’s an interesting concept with very unstructured rhyme schemes. ‘lead role’ continues the story of this girl ‘annabelle’ and puts it into the perspective of a movie. It starts off with, ‘I got the lead role to a part I never wanted / In a movie where the guy lets down the girl in the end.’ The song features doubled vocals, and I’ve only released one other song where my vocals have been doubled. This sound is new for me, and I am very happy with how it came out.”
How a person, so undeserving
Finds a girl that believes in him at his lowest point
For the long haul, frequent drunk calls
Now he’s trying to remember her voice
But three years later he plays it cool
never mentions her name
And she always wondered why he let her go
And three years later, he’s wondering the same
That creative risk pays off tenfold: Wistful and weary, “lead role” is a soul-baring standout that captures Honer at his most vulnerable. Through warm acoustics and doubled vocals, he invites listeners into his own quiet reckoning — one steeped in longing, unresolved questions, and the kind of regret that lingers long after the credits roll.
:: “Mixing Patterns” – Leah Nawy ::
Sophie Severs, Boston, MA
As humans, we get stuck in cycles, at times finding stagnancy to be more comforting than uncertainty. It’s quite easy to fall into monotony and rely on old habits to get us through — it’s the breaking of said habits that poses a greater challenge.
Leah Nawy is a Taiwanese-American songwriter, producer, multi-instrumentalist and masterful pattern-breaker. In her latest single, “Mixing Patterns,” Nawy parses through her mind, determined to redefine and reclaim the person she is from the habits that have inhibited her growth. True to the track’s title, Nawy expertly mixes patterns within the track’s three and a half minute run time; oscillating between fuzzed-out indie rock, jazz-infused pop and a drum machine-driven outro with bona fide nonchalance. Like a phoenix reborn from the ashes, Nawy finds herself made anew and shining brighter than ever.
With its multi-genre sonic palette and themes of rebirth and renewal, “Mixing Patterns” is the perfect soundtrack for the approaching spring months.
:: “The First & Last of the Perfect Parties” – Ren Martinez ::
Danielle Holian, Galway, Ireland
In her luminous new single “The First & Last of the Perfect Parties,” Ren Martinez captures the exact moment a memory turns into a myth. Set against a backdrop of driving guitars and power-pop shimmer, the track recounts a chaotic college night – complete with a house show, a kiss, and pizza on the lawn – as both a celebration and an elegy. Martinez’s voice, warm and wistful, threads through the song with the intimacy of a diary entry, offering up snapshots of youth that feel at once specific and universally bittersweet. It’s the kind of songwriting that invites you to remember your own version of the night she’s singing about.
Produced by longtime collaborator Brian Robert Jones, the track is a standout preview of Martinez’s upcoming debut album Fingers Crossed, due this fall. Formerly known as Ren Farren, the L.A. native blends Laurel Canyon storytelling with the emotional punch of early-2000s indie rock, landing somewhere between beabadoobee and Taylor Swift’s folklore. With sync placements already under her belt and a clear knack for turning lived experience into lush, emotionally resonant soundscapes, Martinez proves she’s not just reflecting on the past – she’s carving out a bold new chapter in the present.
:: “jamie’s song” – The Stamps ::
Mitch Mosk, Beacon, New York
Indie pop trio The Stamps capture fleeting moments of magic, wonder, and introspection on their latest single “jamie’s song” – a tender, infectious reflection on connection, impermanence, and the beauty of living in the now. Steeped in late-night memories and lit by a sense of wide-eyed awe, the track finds the Australian trio (comprised of Scarlett Graham, Rubina Bertolini, and Sofia Hourani) drawing from a moment of travel-born romance to create something deeply personal and quietly profound. It’s soft and sweet, cathartic and freeing – a song that invites us to both reflect and let go.
“‘jamie’s song’ has been through so many different versions, new and old choruses, arrangements and entire sections that never made it into the recorded song,” Graham tells Atwood Magazine. “I brought the song to the girls shortly after writing it, and it was definitely a bit of a jump for the three of us to arrange. For the most part, I hadn’t really written a song as poppy as this one, and I wasn’t entirely sure how to arrange it. I remember working out the ‘down, down, down’ part and feeling like we had struck gold. It took ages to perfect.”
A reminder that hard work and determination do pay off, “jamie’s song” finds The Stamps at their most refined – and their most relaxed.
“We first started the recording process by using GarageBand to track the guitar and vocals,” Graham continues. “We would each individually lock ourselves into the other room of the two bedroom apartment we lived in Footscray when we first moved to Melbourne. We were listening to the five seconds flat album by Lizzy McAlpine, specifically ‘Orange Show Speedway’ and I really wanted to hone into that particular sound with the production of the song. I absolutely love the crisp sound of the vocals in ‘Orange Show Speedway’, and tried to emulate that sound when I sing it.”
“‘jamie’s song’ is not the most serious of songs, so I love being able to play with the cheekiness in the vocals. I’m pretty sure you can hear me smiling whilst I was recording it. We sent off the raw vocals to our producer Tom Josephs, and he worked his magic, and we didn’t have many notes at all. He captured the essence of the song from the beginning.”
With lush, upbeat instrumentation layered beneath reflective lyrics and a disarming vocal warmth, “jamie’s song” is a heartfelt, engaging, and sonically adventurous display of The Stamps’ collective talents, hinting at the emotional depth and vibrant charm of their upcoming debut album In All The Ways I Am, out August 8th via Community Music.
If this track is any indication, the album promises to be a coming-of-age soundtrack filled with sincerity, self-discovery, and the messy magic of growing up. It’s a bold and beautiful step forward for a band who have clearly worn their hearts on their sleeves from day one – and now, they’re doing so with more confidence and color than ever before.
:: “Late To The Party” – MOSAICS ::
Danielle Holian, Galway, Ireland
MOSAICS surge back into the spotlight with “Late To The Party,” a fiery, emotionally-charged anthem that cements their place among the UK’s most exciting new acts. Fresh off a whirlwind tour and a standout run to the finals of the Isle of Wight New Blood competition, the four-piece channel that momentum into a track that’s as raw as it is razor-sharp. Produced by Matt Cotterill and mastered by industry heavyweight Nigel Heath, the single hits hard from the first biting riff, with seismic drums and frontman Owen Castillo’s arresting vocal capturing the unravelling of a relationship with unflinching honesty. Echoes of Sam Fender’s anthemic grit and INHALER’s urgency swirl through the mix, but “Late To The Party” is unmistakably MOSAICS – tight, bold, and brimming with heart.
:: “Somewhere to Go” – Adrian Lyles ::
Mitch Mosk, Beacon, New York
Adrian Lyles trades the spotlight of East High for something far more raw and real on his explosive sophomore single, “Somewhere to Go.” Best known for playing Jet on High School Musical: The Musical: The Series, the rising singer/songwriter takes a powerful leap forward with this high-octane indie pop anthem: A roaring rush of feeling – aching, urgent, and emotionally charged from start to finish. Fueled by pounding beats, searing guitar lines, and a love-struck vocal performance, Lyles captures the raw desperation of longing for someone who once felt like home.
“‘Somewhere to Go’ is about finding safety and home within a person rather than a place,” Lyles tells Atwood Magazine. “I wanted it to feel like the whole song is spent calling out and searching for someone to save you from the place that you’re in. The entire song really stemmed from the idea that, as long as you are there, I am where I am supposed to be.”
Released in mid-November ’24 via ASL Music / Hollywood Records, “Somewhere to Go” follows last September’s spirited debut single “Formalize Me,” and has since been succeeded by “King of Everything” and “Concrete Boy” – two tracks that find Lyles continuing to flesh out his creative voice and artistic identity. Already, his output feels marked by a charismatic dynamism: high or low, fast or slow, his music is unapologetic and uncompromising, radiating emotional urgency and lyrical bite.
“Love songs are much harder to write than everybody thinks,” Lyles adds. “I tend to go about it in a very real way – not too polished, not too clean. Just honest.”
“Somewhere to Go” embodies that ethos in full. Still a standout in his fast-growing catalog, it’s a cry for connection and a cathartic release – a storm of devotion and doubt, hope and heartbreak, all crashing together in real time.
:: “Healing Is Coming”- Levi Robin ::
Chloe Robinson, California
There is a lot of strife in today’s world. With all the negativity, it can be hard to see the light. Levi Robin’s profound folk-pop single “Healing Is Coming” is about building bravery in the midst of many challenging hurdles. His earthy, soulful vocals atop picked guitar strums weave together into a highly compelling combination. This stunning, soul-stirring track is steeped in bittersweet emotion.
The Orange County native took a somewhat unconventional path. Robin confides, “From being a runaway to encountering Eastern spirituality, from psychedelia to unearthing my own ancient Judaic roots, songwriting has been a uniquely integrating constant.” In everything he does, he lets his deepest feelings seep through. “Healing Is Coming” is the perfect, poignant piece of bold surrender.
:: Can’t Get Close Enough – Cinema Stereo ::
Julius Robinson, California
Cinema Stereo are a unique rock group oozing with pure innovation. Their edgy, rugged style is captivating and raw. Their music channels rock legends like Aerosmith and AC/DC, but adds a personal modern twist. The band recently released their new EP, Can’t Get Close Enough, and fans love its hard-driving thrill.
The offering commences with “Acércate a mí,” which translates to “come closer to me.” The illuminating release possesses a jungle-like sonic quality that draws listeners in. The smooth, passionate tone fits the song seamlessly. The title track, “Can’t Get Close Enough,” is a punchy rock piece that is deeply infectious with a rhythmic radiance. It begs for vulnerable intimacy—and we feel that intense desire. “Why Does This Always Happen” has a heavy sound and is the ideal way to conclude. The EP’s finisher is an elevated explosion that ends things with a bang.
Cinema Stereo is an electrifying alternative rock band known for crafting catchy, original music with a bold, dynamic sound. Originally hailing from Orlando, FL, and now calling Nashville, TN home, the band blends a wide array of musical influences into their evolving style. Famed for their emotionally charged performances, powerful rhythms, and compelling lyrics, Cinema Stereo pushes creative boundaries to forge a sound that’s unmistakably theirs.
:: “Heaven in Disguise” – Tara Nome Doyle ::
Will Yarbrough, Philadelphia, PA
Even when blessed with the voice of an angel, the music industry still puts you through hell.
Despite her youth, Tara Nome Doyle has scored millions of streams, prestige TV and arthouse films in her born-and-bred Germany. And yet, despite inking a deal with trendy indie FatCat Records, after two well-received albums, somewhere along the way, the enchanting Norwegian-Irish songstress lost her voice (metaphorically speaking). But while quiet on the surface, her new album rings as loud and clear as the thunder on Mount Olympus.
Whether boiling down medieval chemistry or unpacking Jungian philosophy, Tara Nome Doyle tends to work with a heady concept in mind. Ekko is no different. Except this time around, her guiding mythos wasn’t so preordained. Tracking was already halfway finished when she happened to uncover the album’s overarching theme while reading Metamorphoses. “I looked down at the water / And the water looked up at me“, begins proper opener “Heaven in Disguise”. Her tear-streaked runs never rise above a ripple, as if lost in a pool of reflection.
Having firsthand knowledge of the folly in looking to others for validation, Doyle could relate all too well to the age-old, cautionary tale of Echo and Narcissus. However, unlike Ovid’s accursed nymph, Ekko reclaims her voice through the powers of repetition. Like any true miracle worker, she can do a lot with very little, but this album strips her minimalist chamber pop to the bare essentials: acoustic plucks, quivering strings, wordless harmonies, a piano that scatters melodies like creation’s dust.
“Heaven in Disguise” reveals the depths of its beauty one carefully peeled layer at a time.
While its opening line clearly references the album’s source material, the song is actually Doyle’s retelling of Eve in the Garden of Eden. A synth slithers into the second verse as if born from darkness, but instead of eternal damnation, eating from the Tree of Knowledge fills her with nothing but revelation. Eyes opened, suddenly, her familiar surroundings take on the glow of paradise.
“Nothing more, nothing less / This is all that we get“. In anyone else’s hands, those words would spell doom. But when sung in Doyle’s breathless, graceful falsetto, they sound like an answered prayer.
:: Gamble – Zoé Basha ::
Danielle Holian, Galway, Ireland
Zoé Basha’s debut album Gamble is a rare and radiant arrival – a self-produced collection that pulses with raw emotion and fearless honesty. With roots stretching from the U.S. and France to the backroads of rural Ireland, Basha’s music draws deeply from her nomadic life, and the result is an album that feels lived-in and unshakably human. Blending folk, jazz, blues, Americana, and Irish traditional music, “Gamble” defies easy categorization. Her voice – smoky, aching, and soulful – floats through each track like a memory, reminiscent of vintage greats like Billie Holiday and Edith Piaf, yet unmistakably her own.
What makes “Gamble” so compelling is the sense of place and passage it carries. Each song feels like a postcard from a different chapter of Basha’s journey – some tender and still, others charged with momentum. Tracks like “Traveling Shoes” and “Same Swallows Swooping” strike a beautiful balance between storytelling and emotional release, while “Dublin Street Corners” is an ode to the grit and grace of street performance. The album is a quiet triumph of self-trust and creative freedom, signaling the arrival of an artist who isn’t just finding her voice – she’s reclaiming it. In a world full of noise, “Gamble” is a brave whisper that lingers long after it ends.
:: “Telephone” – The Moving Stills ::
Mitch Mosk, Beacon, New York
The Moving Stills dial into something electric on “Telephone,” a driving, dynamic burst of indie pop catharsis. Released in late November, the band’s first track since their acclaimed sophomore album Wabi Sabi is as angular as it is addictive – a high-octane blend of Phoenix-style guitar licks, emotional overload, and infectious energy. Fueled by danceable rhythms and a fire-under-the-skin urgency, it’s a song about burnout, boundaries, and the ever-blurring line between digital connection and disconnection.
“‘Telephone’ was a really fun song to make,” the Australian band – composed of Tom Mahler (vocals and guitar), Brad Guthmann (bass), Mike Drennan (guitar and vocals), and Ben Day (drums) – tell Atwood Magazine. “It was a nice energy to come back with as the first release since our last album Wabi Sabi. We drew influences from some of the indie artists that we grew up listening to, like Phoenix and Two Door Cinema Club. I think we still maintained a lot of our vibe within that world.”
“The song is largely about the relationship we have with our phones – the way that we are so connected through them, and sometimes expected to be reachable at all times. It’s good to take time away from them, to connect and reflect without the noise of social media and comparison. We were intentional about making this track full of energy, and we are excited to play it live.”
In much the same way that the new iPhone screen literally doesn’t turn off – thanks to a function known as “Always On Display” – “Telephone” captures the tension of being constantly reachable, constantly on, and constantly overwhelmed in our hyperconnected world.
True to its mission, “Telephone” charges forward with purpose: Its vibrant melodies and emotionally fraught lyrics speak to the pressure and paralysis of 24/7 availability. “I just wanna be alone,” the band cry out on the chorus, pulling the plug in real time. It’s introspection set to a dancefloor pulse – a bold and buoyant taste of what’s to come from The Moving Stills’ next chapter.
:: “Skintight Crazy” – August Royals ::
Chloe Robinson, California
It’s difficult letting go of a relationship. Oftentimes, we think about all the what-ifs and wonder what could have been. August Royals’ single “Skintight Crazy” is a pop/rock piece detailing the lingering effects of a partnership as one looks back with rose-colored glasses. His bold, intoxicating vocals atop a raw, gritty backdrop make the track truly addictive. Lyrics like, “I kind of want to let go, but you got me on a tightrope baby, such a pretty lady,” show just how much of a struggle it is to break free. The video displays his hopeless romantic side as he and a girl spend time together in the city.
August Royals swiftly started making a name for himself in 2021. His debut single “Blue Football” gained much critical acclaim. In 2022, August Royals dropped his debut EP Inhaler – a nine-track, genre-blending project that dives into his personal experiences and challenges. After parting ways with RCA, August took a step back to reflect and refine his artistic identity. Collaborating with artists like Kevin Abstract of Brockhampton, Ryan Beatty, and Dominic Fike helped him reassess his creative direction and further his journey of self-discovery.
After spending a year off the grid and immersed in the studio, August Royals makes his return in 2025 with a collection of tracks he describes as his “most authentic and best work yet.” You can hear that powerful sincerity in “Skintight Crazy.”
:: “Rollercoaster” – Sone ::
Danielle Holian, Galway, Ireland
“Rollercoaster” is a full-blown emotional odyssey strapped to the pulse of cinematic pop, where operatic vocals meet raw, journal-born honesty by rising songstress Sone. Blurring the lines between vulnerability and power, this genre-bending anthem surges with the highs of glittering self-acceptance and dives deep into the lows of inner turmoil, all while refusing to apologize for the ride. Think Gaga-level drama with Billie Eilish-level intimacy, stitched together by a voice that could shatter glass or soothe a storm. It’s bold, theatrical, and unfiltered – a fearless ode to feeling everything, and loving yourself anyway.
:: “Puzzle Piece” – SPACE&AGES ::
Mitch Mosk, Beacon, New York
Brisbane indie rockers SPACE&AGES wear their hearts on their sleeves in “Puzzle Piece,” a fiery, emotionally charged anthem that solidifies their status as an artist-to-watch. Their sixth-ever release since debuting in mid-2023, “Puzzle Piece” showcases the raw passion and emotional vulnerability that’s quickly becoming central to the young band’s identity. Lead singer Phin Spence delivers a show-stopping performance packed with aching sincerity and unrelenting energy, backed by driving drums and a restless, relentless lead guitar line that refuses to quit.
The band’s passion is palpable in every beat and lyric, and for frontman Phin Spence, it all began with a sonic spark. “‘Puzzle Piece’ is written about the difficulties felt in a relationship,” he tells Atwood Magazine. “Not a one-sided relationship, but one where it feels like it at times. But I didn’t actually have any kind of lyrical idea until I’d made half the song. The first thing I had in mind when I wrote this song was the drums. I’d noticed that a lot of songs I was listening to at the time had that same kind of driving, thudding drumbeat that kicks off the song and I wanted to see what I could do with it. I also wanted to complement the driving feel, so I added a rhythm part influenced a bit by ‘Thrills’ by Spacey Jane (love that song).”
“The idea for the lyrics came when I came up with the chords for the chorus. They felt super emotional and I wanted to portray that in the lyrics too. I started off writing about how I wanted to be there for my partner and all the struggles she was going through, but it wasn’t feeling emotive enough so I dug up some past trauma from old relationships and chucked that in there too; thus the whole storyline of ‘oh but you push me out.’ And then I brought it to my band boys — they’ll always come up with their parts — and we workshopped it for a couple months of rehearsals.”
Put even more succinctly, “Puzzle Piece” is a young love at sunset, “pushing past the feeling of hopelessness and falling into love.” It’s a track rooted in emotional friction and healing — an ode to staying soft, supportive, and present even when everything feels like it’s falling apart. Equal parts daydream and catharsis, “Puzzle Piece” is a roaring, resonant reminder of the power in choosing to stay.
SPACE&AGES are just getting started – and they’re already hitting with the heart of seasoned pros. Keep an eye on them; if this song is any indication, their rise is only beginning.
:: “Tying One On” – Roman Alexander ::
Julius Robinson, California
Roman Alexander’s single “Tying One On” is about raising a glass to regrets and letting go. The twangy track deals with drowning your pain in a few drinks—something many can relate to. Emotive country vocals skate atop powerful guitars and pounding percussion. Alexander shares, “It’s for the nights that moving on feels impossible, so you settle for numbing the sting, one round of drinks at a time. We’ve all been there—telling the bartender we’re fine while the jukebox plays all the wrong songs.”
Riding high on the momentum of over 86 million streams and a breakout debut that caught the attention of NBC’s Today Show, Roman is proving he’s no one-hit wonder. With a signature sound that blends a retro vibe with modern storytelling, the independent country artist has carved a lane all his own—and fans are here for the ride.
Now, Roman kicks off 2025 with “Tying One On,” a toast to lost love and mistakes along the way. It’s the first taste of his upcoming third EP, and it’s clear he’s leveling up.
:: “blooms” – Virgins ::
Danielle Holian, Galway, Ireland
With “blooms,”, Virgins crack open a deeper, darker vein of their shoegaze soul, delivering a track that feels both cinematic and visceral in equal measure. Building on the ethereal promise of Nothing Hurt and Everything Was Beautiful, this latest release swells with tension and release – an intoxicating fusion of shimmering guitars, tight percussion, and swirling reverb that feels like being swept into a storm and finding solace at its center. Produced by Simon Francis and mastered by shoegaze royalty Simon Scott of Slowdive, blooms pulses with a new kind of energy: moody, majestic, and unapologetically raw. As siren-like vocals drift above the sonic haze, Virgins prove they’re not just refining their sound – they’re blooming into something braver, bolder, and utterly unforgettable.
:: “No One Is Alone” – Staci Gruber ::
Chloe Robinson, California
In today’s world, it can be easy to feel isolated and alone. Staci Gruber reminds listeners that, though we may feel lonely, we all have someone. Whether it is a parent, a friend, or your dog, there are connections in our lives that are special and impactful. Her warm, comforting vocals feel cozy, like a blanket being wrapped around you. Her music video showcases the power of togetherness, depicting people beautifully bonding with others. Watching, you can’t help but smile.
Gruber, a dynamic artist from Boston, captivates audiences with her remarkable musical abilities, heartfelt songwriting, and emotional resonance. Her music weaves together her own life experiences with the poignant stories of others, forging a powerful connection that delves into themes of solitude, longing, and optimism. Music has been woven into the fabric of Staci’s life since childhood. What started as a quiet, personal escape—singing alone in the privacy of her closet—soon transformed into a confident expression of self when she performed her first solo, “12 Days of Christmas,” in elementary school. That moment marked the beginning of her finding her true voice, and she hasn’t looked back since.
While Gruber rose to fame as a vocalist, she also made remarkable strides in an entirely different arena—as a respected professor at Harvard Medical School and a trailblazing neuroscientist at McLean Hospital. Her pioneering research on cannabis explores the long-term effects of cannabinoids across numerous health conditions. Her new song serves as a sincere meditation on the human experiences she observes every day, through both her scientific pursuits and personal journey.
:: “Freee” – Peaceful Faces ::
Danielle Holian, Galway, Ireland
Brooklyn-based chamber-rock collective Peaceful Faces has dropped their latest single “Freee” a track that strikes a perfect balance between simplicity and intricate texture, delivering a powerful exploration of freedom both personal and artistic. Opening with a gritty, distorted guitar riff that soon gives way to pulsating drums, the song evolves into a dynamic journey, shifting from high-energy crescendos to intimate, stripped-back moments where the male vocals and poignant lyrics take center stage. The repeated refrain, “How could you ever be so free,” is underscored by subtle brass, adding an emotional depth that complements the song’s cathartic transitions. A thrilling bridge of brass and drums provides a moment of complexity, before the track bursts into a final, explosive energy. Reflecting on the song’s theme of freedom and its potential pitfalls, band founder Tree Palmedo captures the essence of both the personal and artistic struggle, ultimately freeing himself from musical constraints to just “rock out”. With its multi-layered arrangements and thoughtful exploration of freedom, “Freee” confirms Peaceful Faces as a distinctive and compelling force in modern rock.
:: “I’ve Got You” – San Jose ::
Danielle Holian, Galway, Ireland
San Jose, a theatrical post-punk poet, returns with a tempestuous new single, “I’ve Got You,” a six-minute masterclass in avant-garde energy and unapologetic emotional release. Produced by Christopher McCrory (Walt Disco, Catholic Action), the track opens in a blaze of biting guitars and feedback-soaked chaos, brimming with raw theatricality. Vocals deliver angst with razor-sharp urgency, threading through a wall of pounding drums and eerie choral textures, all coalescing into a fever dream of chantable anarchy. This is not post-punk playing by the rules – it’s a visceral performance, a confessional screamed into the void and dressed in velvet.
What elevates “I’ve Got You” beyond mere punk catharsis is its deliberate descent into sonic surrealism. Just as the noise becomes almost unbearable, the song folds in on itself – melting into a warped lull of woozy saxophone and ornate orchestration that’s more dreamlike than deranged. But this brief moment of beauty is a ruse: the band hurls us back into the fray with renewed fury, building to a climax that feels both chaotic and triumphant. San Jose don’t just make music – they create theatre, poetry, and full-body experiences disguised as songs. With “I’ve Got You”, they’ve cemented their status as fearless boundary-pushers on the bleeding edge of modern post-punk.
:: “Juno” – Glenna Jane ::
Mitch Mosk, Beacon, New York
Nobody describes Glenna Jane’s latest single better than the artist herself: “It’s about queer joy, queer becoming, queer world making,” she says. The Las Vegas-bred, New York City-based singer/songwriter captures the dizzying ache of desire, yearning, and the magic of first love in “Juno,” a tender and seductive indie pop reverie built on memory, fantasy, and the blur between friendship and something more. Glenna Jane’s second single to date, “Juno” is soft, shimmering, and emotionally charged – a hopeless romantic’s coming-of-age anthem wrapped in glittering guitars, reversed drums, sun-soaked synths, and slumber party nostalgia. It plays like a sleepover secret whispered between best friends – fleeting but unforgettable, familiar yet daring.
“‘Juno’ is my first love song,” the New York City-based singer/songwriter shares. “It started like all my songs do: me, sitting criss-cross on my bed, playing my guitar Willow in open D. Musing on memories of the first girl I ever fell in love with – listening to Vampire Weekend on the after school bus and watching Kathryn teach Cecile how to kiss while rooming together on our out-of-state choir trip.”
“I remember scrawling, ‘I’m a beginner / I’ll confuse a moment for forever’… reflecting on yearning for my best friend when I was 15, ‘Juno’ is about what isn’t and what could be… It’s about blurring platonic and romantic love, loving your friends, and falling in love with your friends. Sonically whimsical and playful, it’s the 2000s romcom–a sleepover scene of the girl next door kissing her best friend – scored by record scratches, slumber party gang vocals, glittery mandolin and shimmery guitars, reversed drums, wobbly synths.”
A radiant and resounding introduction, “Juno” is dreamy, diaristic, and defiantly intimate – the kind of song you keep tucked inside your memory box, next to polaroids, mixtapes, and all the things you never said out loud.
:: “Spitting Feathers” – The Pedals ::
Danielle Holian, Galway, Ireland
Indie newcomers The Pedals come out swinging with “Spitting Feathers,” a vibrant burst of indie-rock energy that captures the raw intensity of their live shows while offering a surprising emotional depth. Built on a foundation of biting guitars, thunderous drums, and a tight, grounding bassline, the track thrums with urgency, yet never loses its melodic focus. What truly sets it apart is the contrast at its core – melancholic, effortlessly controlled vocals deliver introspective lyrics that cut through the punchy instrumentation with quiet force. It’s a track that wears its heart on its sleeve while keeping its eyes firmly on the stage, marking The Pedals as a band to watch.
:: “Far Away Star” – Candice Hoyes ::
Chloe Robinson, California
Just in time for Jazz Appreciation Month, Candice Hoyes shares her vibrant single, “Far Away Star.” The horn-fused release is an ode to Duke Ellington and bridges classic sounds with contemporary flavor. Hoyes’s warm, deep vocals elegantly glide over hypnotizing New Orleans horns. The bellowing, bluesy track oozes with timeless beauty. The more you listen, the more you cannot help but be enchanted. The piece’s subtle nuances are easy to get lost in.
For decades, Black American artists of the 20th Century have journeyed abroad in search of new forms of self-expression, often finding artistic communities in Nordic countries like Sweden, Norway, Finland, and Denmark. There, they discovered progressive, intellectually rich spaces where music served as a unifying force across cultures.
Inspired by this legacy, vocalist Candice Hoyes presents a fresh interpretation of a Swedish folk song famously recorded in 1978 by Duke Ellington and his orchestra, featuring vocalist Alice Babs. Hoyes’s rendition, arranged for soprano and jazz octet by GRAMMY Award-winner Ted Nash, includes original lyrics by Hoyes that explore the vital role of Black ancestral history in 2025. Reflecting on the piece, Hoyes reveals, “‘Far Away Star’ is both an homage to Ellington and a celebration of free expression and justice—timeless and constant, like the North Star.”
:: “Cartpushers (and Crows)” – Jefferson Pitcher ::
Mitch Mosk, Beacon, New York
Jefferson Pitcher’s “Cartpushers” is a tempest of sound and story: Ominous, urgent, and haunting, it pulses with the restless spirit of rebellion and reinvention. Arriving early on The Bellows – Pitcher’s recently released, richly textured album – the track conjures a vivid, crumbling world where farmers, cobblers, and cartpushers steel themselves against the reign of a new king – timeliness be damned.
Are you ready to feel unknown
The blood of unknowable renown
Are you locked in, down, or out
Steady for rekeying here
And the king will carry us on silk tonight
The farmers and cobblers
and Cartpushers will be ready
“The song ‘Cartpushers’ is about some assembled group of people withering under the reign of a new king (I swear I wrote this a few years ago!) as they toil,” the Northampton, Massachusetts-based singer/songwriter tells Atwood Magazine. “The ‘farmers, cobblers, and cartpushers’ are the laborers, readying to rise up for some sort of rebellion. I borrowed some of the imagery for the song from Cuckoo Cloud Land by Anthony Doerr. There is an extended version on the LP that has a longer outro with some very internal noise at the end, that feels like the world imagine[d].”
Within the album’s unfolding narrative, “Cartpushers” marks a shift in focus — from collapse to the glimmers of new tribal formation. “The first line on the record is, ‘you and I saw the lights go out,’ which imagines a couple seeing the grid go down for good,” Pitcher explains. “By the third song (‘Cartpushers’), the narrative has begun to focus on human/animal relationships, and we see the beginning of tribes forming. It sounds a bit heavy and apocalyptic, but I don’t see it that way at all. I see it more as an opportunity for re-invention.”
“They will be our heroes,” he repeatedly sings of those farmers, cobblers, and cartpushers – all of them ready to lead their people to some sort of salvation. It’s a fleeting moment of resolve – of hope glinting through the dust and despair. Three minutes in, the track transforms into a spirited jam session – one that builds, spirals, and finally collapses into pools of chaotic, dark, and murky sound. It’s a visceral catharsis, a sonic unraveling that lays bare the unease, tension, and rebellion simmering just beneath the surface.
Carried by a dark, thudding rhythm and sharpened by cryptic, evocative lyrics, “Cartpushers” feels both ancient and immediate – a dynamic song for a fractured future, and a rallying cry for resilience amid ruin.
:: “Common Enemies” – Blue Monkey ::
Mitch Mosk, Beacon, New York
“Common Enemy,” Blue Monkey’s third-ever single, is a song of soft disillusionment — a dreamy, lilting folk reverie that drifts with warmth and wistfulness, even as it quietly cuts deep. Over glimmering acoustic strums and hushed, heartfelt melodies, Nashville-based singer and songwriter Charlee Remitz unpacks the fragile foundation of a friendship built on shared resentment: “We could be friends for a thousand years / And I’d hardly even know you / But I’d know everyone you hate.” With a voice that’s tender yet unflinching, Blue Monkey sings of performative kindness, emotional neglect, and the heartbreak of realizing someone’s presence was more postured than real. “Ain’t no justice in keeping the peace / If you’ve got the tools to stop a bleed / And you don’t…” she laments, her voice trembling with restrained ache. Both balm and reckoning, “Common Enemy” is a gentle unmasking — a beautifully bittersweet reminder that true connection can’t thrive in the shadows of withheld truths.
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