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 Holly Humberstone, Kareen Lomax, Pacifica, Fields of Jake, Post Sex Nachos, Mel Denisse, Dom Jones, Saapato, Kirsten Izer, Ásgeir, GRACE., Miranda del Sol, St. Lucia, MT Jones, Georgia Black, The Urban Renewal Project, Forever Forever, Afternoon Bike Ride, Samuel Warburton, The Reverend Shawn Amos, Dom Malin, Dan Thomas, Tears of Happiness, & John-Robert!
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:: “Die Happy” – Holly Humberstone ::
Julia Dzurillay, New Jersey
With her raspy voice, natural hair, and heartbreakingly personal lyrics, Holly Humberstone curated a very specific singer-songwriter aesthetic since debuting on the music scene – that’s what makes this new era so exciting. This month, the performer released “Die Happy,” a single about the deepest, most dangerous kind of love.
“You said in a past life we were spiders
Or something neo-goth and grandiose.
You asked if you could hold my hand forever and ever
You asked me if I still believe in ghosts, well.”
– “Die Happy,” Holly Humberstone
I’d be remiss to ignore the Notes on a Conditional Form-esque intro. It sets the tone for a dreamy, dark, and romantic track, with obvious references to gothic romance in the slow pop original. Humberstone even revealed she took inspiration for The Bloody Chamber and Dracula. She said in a press release, “I wanted to show the feeling of throwing yourself into love fully and recklessly.”
:: “apartment” – Kareen Lomax ::
Mitch Mosk, Beacon, New York
There’s a heat that lives inside Kareen Lomax’s “apartment” – the kind that hums low and steady, flickering between longing and release. The alt-R&B artist glows against Daoud’s lush production, her gilded, honey-smoked vocals wrapping around every note like velvet. It’s soulful and smoldering, pulsing with intimacy and ache; the kind of song that feels like it’s being sung just for you, a whisper shared in the quiet hours between heartbreak and healing.
Released November 7 via music is fun, “apartment” is nostalgia in motion – a groove that looks back even as it pushes forward. Lomax retraces her steps through love and loss, revisiting old walls and echoes of who she used to be. “Drove past my old apartment / the one with the high rent / where we used to turn up all night long,” she sings, heavy with warmth and wistfulness. The beat moves like memory itself: Soft edges, tender, but full of life.
Lomax’s breathtaking voice – rich, radiant, and raw – is a beacon of unfiltered, uncompromising emotion. She sings hot on the mic, sending shivers down the spine as the hairs on the back of our necks stand on end. Every note feels deliberate yet effortless, carrying both ache and allure in equal measure, pulling you closer until you can almost feel her breath in the room.
As Lomax explains, “‘apartment’ is the groove of my new era, nostalgic but still moving. It’s about the kind of place that doesn’t still exist anywhere but your chest, where four walls stretch when you’re in love and close in when you’re lost. I wrote it while caught between grief and freedom, between packing up my parents’ house after my dad passed and the city I used to dream in. It’s the last place I remember feeling like myself.”
That duality – grief and freedom, movement and memory – is the heartbeat of “apartment.” Lomax has always made music for those finding their way back to themselves, and here she does so with breathtaking candor. In revisiting where she’s been, she reclaims who she is – not trapped by the past, but grounded by it.
:: In Your Face! – Pacifica ::
Josh Weiner, Washington DC
Originally from Argentina, Inés Adam and Martina Nintzel currently call Los Angeles home. Longtime close friends, they finally decided to create an artistic partnership out of their friendship, with Martina on the bass and Inés rockin’ the mic and the guitar. Several projects emerged from this decision a few years ago – Not a Cover Band (2022) and Freak Show (2023) among them – and now the duo are back with their most comprehensive work to date, In Your Face!
The album features a lucky 13 tracks, all of which are lively and entertaining in their own right. Among the ones worth highlighting is lead single “Indie Boyz,” which Inés says started out as a lighthearted track inspired by a week of constant partying but gradually evolved into “one of the truest songs we’ve written. It’s about wanting to feel alive even when you know you’re making a mess.” Other songs chronicle the girls’ experiences with boys, parties, risk-taking and more over infectious pop-rock beats (“Don’t Blame Me,” “Wasted a Drunk,” and “Show Me Your Credentials” all encapsulate that central theme effectively). Finally, even though most of the album is in English, they reserve some Spanish space with the final track, “Soltame!,” on which they gradually stop putting up with their friends’ BS (“Dice que no es suficiente, ‘nada es para siempre.’ Ya no puedo más!”). It’s a great way to conclude the album with both some Latina flavoring and solid sass all at once.
“In Your Face! is like watching a friendship in real time,” says Martina. “It’s vulnerable and ridiculous and real. We don’t try to hide that, we celebrate it.” And boy, is this one celebration worth tuning into!
:: “If It Was Up to Me” – Fields of Jake ::
Danielle Holian, Galway, Ireland
There is a tenderness in “If Only It Was Up to Me” that hits before the first note fully lands. Jake Fields’ voice drifts over a soft organ and delicate guitar plucks, carrying the weight of unspoken apologies and the ache of what cannot be undone. The song opens like a diary left on a bedside table, intimate and raw, as if Fields is confessing directly to the listener, drawing them into a world where longing is a constant companion.
Jon Button’s bass line flows like a river beneath the melody, steady and unyielding, while the electric guitars of David Levita and Steve Fekete sweep through the arrangement like gusts of memory, sharp, luminous, and impossible to ignore. The instrumentation does not simply accompany the lyrics; it tells a parallel story, of regret and reflection, of moments we wish we could rewrite. There is a quiet brilliance in how the sonic landscape mirrors the emotional terrain, each note a brushstroke in a portrait of heartache. Fields’ lyrics pierce with a vulnerability that is both specific and universal. “Oh and if I had to choose / You would never want to leave / If only it was up to me,” he sings, capturing the haunting frustration of a love lost through no fault but time itself. The chorus swells like a desperate plea, and by the bridge, Fields reaches higher, letting the synthesizers bloom and the guitar cry – an aural embodiment of yearning, a moment where the song transcends its structure and becomes a living, breathing entity.
By its close, “If Only It Was Up to Me” lingers in the mind like the echo of a dream you cannot fully grasp. It is a ballad of reflection, polished yet profoundly human, where Fields’ melodic intuition meets lyrical honesty. The song does not simply recount a failed relationship, it inhabits it, allowing listeners to walk its corridors of hope, regret, and longing, before leaving them with the bittersweet solace that comes with remembering, and wishing, all at once.
:: “SOS” – Post Sex Nachos ::
Annaliese Baker, Chicago
Post Sex Nachos are making waves in the indie scene this year, from a sold-out headline tour to working on their fifth album. Known for their thoughtful lyrics and witty titles, their latest track “SOS” leans into 2010s alternative rock sounds while conversing about growing pains in early adulthood.
“SOS” begins with a 14-second instrumental, hooking the audience with a steady, thrilling drum beat and guitar chords. The lyrics begin: “Recently I feel the need to say what’s on my mind / But every time I open my mouth I can’t define.” Lead singer Sammy Elfanbaum’s vocals harmonize with the instrumentals, highlighting the excitedly anxious feelings created in the introduction. The lyrics stress reliance on your community and reaching out to those around you; it’s a feeling specific to your twenties, when your friends become your family.
The chorus gives equal balance to instrumentals and vocals, highlighting the band’s impressive musical capabilities and strong relationship. In between each verse, the vocals pause for the drums, urging listeners to move. The chorus persists: “I need someone to help me out / I’m sending out an SOS.” Post Sex Nachos debuted the song on their Fall 2025 touring dates; it’s clear the band is thrilled to share it with the world. Not only does the track capture an audience, from a live crowd to a morning commuter, but it also showcases the band’s growth. “SOS” uplifts the nostalgic sound of 2010s alternative rock while paving way for the sound of the late 2020s. This track solidifies Post Sex Nachos’ place in the modern music industry – if you don’t listen now, send an SOS.
:: “Going Nowhere”- Mel Denisse ::
Chloe Robinson, California
At some point, we’ve all felt uncertain about the next step in our lives. When we’re simply focused on getting through each day, finding solid ground can feel almost impossible. “Going Nowhere” by Nashville artist Mel Denisse is a wistful alt-rock/shoegaze track that deals with relatable themes of surviving in the shadows and searching for a foothold in a world with no clear landing. The stunning piece takes you to another place with warm, haunting vocals over a mesmerizing, atmospheric backdrop. After just one listen, you’ll be hooked and craving more.
Mel Denisse is a boundary-pushing artist and producer, blending raw guitar energy with offbeat pop sensibilities. Drawn to music at ten through her dad’s acoustic, she spent her teenage years crafting demos in imperfect software and, by eighteen, was hitting the road on a Myspace-era tour. Mel draws inspiration from artists as diverse as Failure, Deftones, and Tori Amos, chasing what she calls a “controlled collision.” Her voice swirls like smoke one instant, then erupts into a snarl the next, riding jagged, driving guitar loops. She reveals, “I like to ‘frankenstein’ a track. If a heavy riff and a delicate melody look wrong together on paper, that’s exactly what pulls me in.” Her music is so complex and that same intricacy can be felt in the masterful work of “Going Nowhere.”
:: “Seventh Sense” – Dom Jones ::
Grace Holtzclaw, Los Angeles, CA
Dom Jones is a born and raised California artist by way of Oakland and Los Angeles. Her soul-stirring R&B vignettes appeal to the emotional, unconscious side of our collective psyche. Her new song, “Seventh Sense,” is written about exploring love as a sensual experience. How does our presence of being as lovers equate to a whole different sense that we never knew we were capable of?
“Seventh Sense” finds bliss in simplicity with stripped-down sonics that uplift Jones’ powerhouse vocal through the surface. She sings, “It’s better than we even fathomed / No need for speed, you can go slow.” The lucid atmospherics and slow beats descend you into a dream with each listen. “Seventh Sense” surrenders to sensuality as Dom Jones guides you on an intimate journey through her soul.
“Seventh Sense” is the beginning of an enticing new era for Dom Jones as an artist and songwriter. The single is the first track from her upcoming EP, 2.0. “Seventh Sense” was her 17th collaboration with acclaimed producer Kasey Phillips. Their bond as contemporaries speaks volumes on this effortless track.
:: In Alaska – Saapato ::
Will Yarbrough, Philadelphia, PA
Brendan Principato appreciates the smallest things in life. As the guiding force behind Saapato, the upstate New York native has found inspiration in the most unlikely of places: medical pamphlets, Jeopardy!, Mexican Summer’s warehouse, even roadkill. But no matter how deep into the weeds his tracks go, he never loses sight of the bigger issues at hand. His 13th album and first for AKP Recordings takes us to one of the largest and most remote destinations on earth. What awaits is as life-affirming as it is bone-chilling.
With help from local park rangers, In Alaska captures the vast beauty of America’s 49th state. After a day navigating glacier trails and the calming waters of “Port Snettisham,” by nightfall, Principato would listen back to his field recordings while improvising with synthetic pads and guitar pedals. As a reluctant traveler with a strong aversion to the cold, I have no desire to experience the squawking ravens or arctic winds that color these seven soundscapes, but hearing Saapato’s impossibly bright electronic textures shift like glaciers atop the quiet rush of “Salmon Run” on my walk through town, I can see my familiar surroundings in a magical new light.
You can enjoy this album from a similar dazed state of remove. “6am Rainforest Drone” hums with the serenity I imagined was only possible through years of Zen meditation. But just like the ominous bass rumbling in the near distance of “Echo Cove,” there’s a real outside threat to Saapato’s peace of mind. And the call is coming from inside the house. “Whale Watching Boats” searches amidst rolling fog quietly enough, only for a pod of noisy tourists to spoil the big reveal. After witnessing so much natural beauty, the camera shutters feel all the more intrusive.
“The Alaskan soundscapes revealed extremes; a celebration of abundance and a warning of its fragility,” Principato says when reflecting on his trip. “I’ve never felt more in awe of nature and disgusted with humanity’s impact.” With In Alaska, he’s returned with a souvenir of a national treasure and our shameful footprint.
:: “Anyone But Me” – Kirsten Izer ::
Mitch Mosk, Beacon, New York
Kirsten Izer’s “Anyone But Me” is a gentle giant – a breathtaking alt-folk reverie built on little more than a soft, steady guitar line and Izer’s haunting, evocative voice. The song drifts like a confession whispered into the dark, tender and trembling yet unflinchingly direct in its honesty. It’s quiet, but it cuts deep; intimate in its scope, yet vast in its emotional resonance.
Co-produced with Ari Pent, the track captures Izer at her most vulnerable, unpacking body dysmorphia and identity through shifting perspectives and subtle changes in tone. “Never look right in the mirror / close my eyes to be her / but I just can’t see,” she sings, her voice fragile and fierce all at once – the sound of someone reaching toward self-understanding through the fog.
“Anyone But Me started out as a story about an experience with gender identity before I realized what it was turning into: A story about my body dysmorphia,” Izer shares. “For as long as I could remember, how I felt on the inside never matched how I looked on the outside, and I’ve spent way too much time trying to figure it out. But what I especially love about the song is its subtle shifts in perspectives. In the first verse and chorus, I’m deeply uncomfortable with how I perceive myself. In the second verse, I sing about my mom and how she experiences similar feelings. After the second chorus, the perspective shifts again and now I’m a mother who is singing to my child (‘If the air inside is hell, if I can’t free myself / I want you to be anyone but me’). Trying to find yourself, while also begging a loved one not to be like you… It’s dark, but it’s real.”
It’s that darkness, paired with grace and restraint, that gives “Anyone But Me” its power. Izer holds space for pain and tenderness to coexist, her breathtaking vocals carrying both the weight of self-doubt and the quiet hope of healing. The result is a softly stirring song that feels as cathartic as it does devastating – a reflection of the lifelong process of learning to see yourself clearly.
:: “Ferris Wheel” – Ásgeir ::
Mitch Mosk, Beacon, New York
Ásgeir has always had a way of making the quiet feel infinite. His new single “Ferris Wheel” is a gentle indie folk reverie that pairs his spellbinding vocals with stirring, cinematic storytelling – a song that feels like an open sky slowly filling with light. It’s soft, it’s sweet, it’s disarming and aching all at once, radiating a quiet hopefulness that lingers long after the final note fades. There’s heart here – lots and lots of heart.
Over warm acoustic guitars and the hum of a live band, Ásgeir paints a portrait of dreaming aloud, of longing for freedom and daring to imagine a different kind of life. “Take my hand at the crack of dawn / don’t know ‘bout you honey but I’m ready to run,” he sings, his voice a vessel for both yearning and release. The song unfolds like a conversation between two souls on the edge of reinvention – lovers standing at the threshold of change, ready to leave behind the noise and expectations of the world for something simpler, truer. “We can buy that old American car… build a cabin by the lake… live off the fat of the land,” he dreams, his words a quiet manifesto for a life well-lived. It’s a song about motion and stillness, the courage it takes to start over, and the kind of love that makes risk feel like grace.
That sense of renewal runs through every note of “Ferris Wheel.” After years of looking inward, Ásgeir allows himself to look forward again – to imagine a life beyond loss, one filled with possibility and light. “‘Ferris Wheel’ was recorded with a four piece band. Myself, my brother Steini on guitar, Örn Eldjárn on bass and Nisse Törnqvist on drums,” Ásgeir shares. “I remember being a bit hesitant with the song at first. I felt like it was maybe too much Americana or something, but everyone in the studio were so excited about it and then I started to love it. It’s something I feel like I haven’t done before and that’s probably why I was feeling that way at first. It’s a song about wanting to change things up. Make your dreams come true, referencing something that me and my girlfriend have been talking about. Wanting to move to a place by the water, doing the things we’ve been putting on hold. I feel like I haven’t been allowing myself to dream about the future for a long time, just been stuck in the same old ways. So it’s good to be able to dream again.”
What might have once felt too Americana becomes something beautifully universal in Ásgeir’s hands – all the heart, grit, and open-sky optimism of that tradition, reimagined through his tender, Icelandic lens. “Ferris Wheel” arrives as the latest single off his forthcoming album Julia, out February 13th via One Little Independent Records. Written and recorded over nearly two years, Julia marks a new chapter of self-reliance and emotional clarity for Ásgeir – his first record for which he penned all the lyrics himself. After years of collaborating with translators and his poet father, Einar Georg Einarsson, this album finds him stepping fully into his own voice, both literally and lyrically.
And as with much of Julia, what ultimately lingers isn’t just the craft, but the connection. There’s an unguarded intimacy to “Ferris Wheel” that makes it feel deeply human. Ásgeir’s voice, featherlight yet full of conviction, brings us right beside him – turning round and round through time, weather, and wonder. He worried this song might veer too far into Americana, but in truth he’s captured the best of it: the raw sincerity, the ache, the heart-on-sleeve honesty that makes you feel like you’ve known him all your life.
:: Hourglass Plea – GRACE. ::
Danielle Holian, Galway, Ireland
Rising artist GRACE. makes a striking entrance with Hourglass Plea, a debut that reads as both a personal diary and a carefully wrought work of art. Each track delicately navigates the terrain of loss, longing, and fleeting beauty, crafting an intimate world where vulnerability is not only exposed but celebrated. The album’s ethereal soundscapes float atop introspective lyricism, creating a cinematic atmosphere that feels at once tender and expansive. GRACE.’s voice, simultaneously fragile and resolute, carries listeners through the quiet ache of nostalgia and the tentative hope of acceptance, rendering each moment of the record profoundly resonant. From the gentle melancholy of “Brittle Emotions” to the reflective elegance of “Hourglass Reverie,” the album is a meditation on impermanence, inviting audiences to sit with their emotions rather than shy away from them.
Hourglass Plea situates GRACE. in a lineage of artists who balance emotional intimacy with lush musicality, drawing on the soft, confessional warmth of Clairo, Olivia Dean, and Cleo Sol, while threading cinematic textures reminiscent of Bruno Major and Laufey. The result is a sound that is simultaneously contemporary and timeless, with each melody lingering long after it fades. The album’s ebb and flow, between delicate interludes, reflective ballads, and dreamlike mid-tempo tracks, mirrors the way memory and grief ebb and recede, leaving listeners both comforted and contemplative. In its exploration of love, loss, and the small, precious moments that slip through our fingers, Hourglass Plea positions GRACE. as an artist unafraid to confront life’s fragility, offering a debut that is as tender as it is unforgettable.
:: when you were asleep (volume 1) – Miranda del Sol ::
Josh Weiner, Washington DC
Three months ago, I wrote a favorable Weekly Roundup entry of Miranda del Sol’s single “so in looove,” and noted that “it’ll be great to see what more this talented young songstress has in store for us once her debut EP arrives,” Well, said EP has now arrived, and I’m pleased to say that when you were asleep (volume 1) does indeed follow up on the artistic promise made by its advance single.
Miranda del Sol is originally from Miami but now lives in New York, where she recorded her latest EP over in Brooklyn. In addition to “so in looove,” when you were asleep (volume 1) features another three tracks that further exemplify Ms. del Sol’s prowess as a bilingual singer. On the first track, “aguardiente,” the Latina singer explains that “soy de Miami… soy un tsunami… espera ver como te enredo.” The song’s been out since early 2024, but even after more than a year, it does a fine job enredoando us into its author’s gentle voice and beat-making skills. Afterwards comes “so in looove” and then its equally compelling sequel, “keep it to yourself” (“if “so in looove” is about realizing you’re spiraling out, “keep it to yourself” is the aftermath,” Miranda has explained).
Wrapping things up is “i don’t wanna go,” on which Miranda presents her fears of ending up alone. “The second that I lay my head down, I’ll be all on my own,” she explains her somniphobia.”I don’t wanna go to bed now. Can you let me in yours?” The four-song stretch goes by in a flash, but when you were asleep (volume 1) showcases Miranda del Sol’s early promise as an emerging songstress quite effectively during that space.
:: “People Change” – St. Lucia ::
Josh Weiner, Washington DC
I’ve been fortunate to have covered the super-talented husband-and-wife duo St. Lucia on several occasions, most recently this past spring as they released their new album, Fata Morgana: Dawn. I’m happy to learn that the duo will be back with the sequel to their last project (appropriately titled Fatal Morgana: Dusk) real soon, and that a sneak preview of the project, “People Change,” is out now.
Jean-Philip Grobler, who forms half of the duo along with his wife, Patti Beranek, reveals that the song was first conceived a decade ago, but it took a long time until he finally felt ready to release a song so personal to him. “’People Change’ is a pretty emotional song for me because it deals with bullying, and the cycle of violence which is something I suffered from as a child but that I also passed on,” he says. “But it’s also about redemption in a way because, well, people change.” Even though the song’s origins go back pretty far, its message remains super timely, as does the lively production achieved by St. Lucia and their supporting musicians. Fatal Morgana: Dusk is sure to be another solid project from St. Lucia, given the early high standard they’ve just set.
:: “Gentle Reminder” – MT Jones ::
Mitch Mosk, Beacon, New York
MT Jones is soul manifest. The Liverpool-born artist’s new single “Gentle Reminder” feels like an instant classic – timeless and tender, hot and charming, aching and brooding all at once. With its dusky groove and velvety warmth, it’s the kind of song that sounds like it’s always existed somewhere deep in your memory, waiting to be remembered.
Rooted in the traditions of ‘60s and ‘70s soul but carried by modern grace, “Gentle Reminder” shimmers with longing and devotion. Jones’ voice – rich, grainy, and full of ache – wraps around each lyric with effortless poise, equal parts power and vulnerability. “Here’s a gentle reminder that I love you so,” he croons, every word unfolding like a promise whispered across distance. It’s the sound of someone trying to stay close from miles away, love stretched thin but never fading.
“‘Gentle Reminder’ is a love letter, a postcard,” says Jones. “I wrote it out on my first tour of the States. When you’re away for a while experiencing new things and new places, it’s always good to let your person know you’re thinking of them whilst you’re away.” That tenderness courses through the song’s every note – a quiet assurance of care and connection, even from the road.
Out now ahead of his forthcoming debut album Joy (out March 20, 2026 via The Orchard), “Gentle Reminder” captures what makes MT Jones so magnetic: The blend of craft and candor, of timeless melody and modern soul. With a voice that recalls the warmth of Donny Hathaway and the depth of Leon Bridges, Jones doesn’t just sing – he makes you feel.
:: Rope – Georgia Black ::
Joe Beer, Surrey, UK
On her new album Rope, North London’s Georgia Black dives deep into the complexities of love, control, and emotional release. Known for her smoky, soul-drenched voice she channels her jazz and blues roots through a fresh R&B lens, creating a sound that’s confident, intimate, and unmistakably her own.
Working with producer Nutty P, Black unpacks a multitude of themes from the grip of toxic love to moments of self-liberation and rediscovery. Each track takes us on a journey, balancing grit and elegance in equal measure. Her storytelling is vivid and unfiltered, revealing the strength that comes from letting go.
Rope is a cinematic release rooted in personal truth. Black’s honesty and vulnerability is refreshing, showcasing an artist who isn’t afraid to say exactly how she feels and mean every word.
:: Love Glory Duty Death – Urban Renewal Project ::
Chloe Robinson, California
The colorful and charismatic 16-piece collective Urban Renewal Project delivers a truly unique listen with Love Glory Duty Death, a 12-track fusion of jazz and hip-hop brilliance. A standout from the album is “Shake Those Hips.” The bold, foot-stomping track bursts with infectious energy for a vibrant earworm guaranteed to get you moving. “Money” featuring Oh No is another fierce, in-your-face track. The song embodies the unstoppable drive for wealth and success, motivating listeners to chase the bag as well. Concluding with “Under the Sun” you feel as if you are transported straight into a 70s cop show a la Starsky and Hutch.
Urban Renewal Project is a 16-piece collective that defies genre boundaries, blending jazz, hip hop, and classic soul into a bold, unmistakable sound that has enthralled audiences from SXSW to the Java Jazz Festival. The group features the expressive vocals of Alex Nester, the sharp rhymes of emcees Elmer Demond and Slim da Reazon, and a powerhouse ten-piece horn section. Building on the momentum of recent singles “Will to Survive” featuring Vic Mensa and “Don’t Ask Y” featuring Camp Lo, the ensemble’s Love Glory Duty Death explodes with a bang.
:: Good Light In – Forever Forever ::
Danielle Holian, Galway, Ireland
Forever Forever make a striking impression with their debut EP, Good Light In, a release that deftly balances introspection with sonic ambition. Produced by Jasper Trim, known for his work with Finnegan Tui and A K Patterson, alongside band member and acclaimed producer Fionn Connolly, and mastered by Nick Powell, the EP is a masterclass in textural sophistication. Across six tracks, the band fuses the emotive intimacy of 2000s indie with inventive electronic flourishes, the organic warmth of folk, and the accessibility of alternative pop. Anchored by lush, timeless four-part harmonies and a reflective emotional undercurrent, Forever Forever occupy a space somewhere between The National’s brooding depth, Glass Animals’ inventive soundscapes, and the experimental elegance of Bon Iver’s 22, A Million.
Good Light In, navigates the highs and lows of life in your twenties with a compelling balance of vulnerability and exuberance. The title track sets the tone with twinkling synths, delicate acoustic guitar, and whispered vocals, while tracks like “Stasis” showcase tight melodic precision and angular sampling. Meanwhile, the stripped-back emotional resonance of “Difficult Feelings” and “Navigate” reveals the band’s ability to craft intimate, affecting moments that linger long after the EP ends. Across its runtime, the release is at once expansive and personal, vibrant yet wistful, a testament to Forever Forever’s artistry, vision, and promise as a band capable of both emotional depth and musical innovation.
:: “Laundromats” – Pillow Fite ::
Mitch Mosk, Beacon, New York
Pillow Fite’s “Laundromats” is dreamy indie rock at its most devastating – cinematic, tender, and achingly alive. Its melancholic bent is a boon, turning sadness into something electric and unifying. The Halifax-based duo of Art Ross and Aaron Green channel exhaustion, empathy, and quiet defiance into a song that feels both intimate and immense, built to ache inside and out.
There’s a slow-burning power beneath the surface of “Laundromats” – the way its guitars shimmer and Ross’s voice trembles, the way it captures a kind of collective heaviness we’ve all been carrying. It’s melancholia with muscle, the kind of song that doesn’t just feel sad, but necessary.
“‘Laundromats’ came from my intense frustration and anxiety about the political climate in the US,” Ross tells Atwood Magazine. “While touring there during the run-up to the 2024 election, I saw my American friends, mostly queer, trans and BIPOC, become silenced and scared. I felt protective of them. I longed for their safety and freedom.”
They continue, “‘Laundromats’ started from the line ‘all my friends are sad.’ I sat with this line and thought to myself ‘is this too literal?’ But after working through it with Aaron, I saw how the blunt nature of the lyrics only enhanced the intensity of the message. I also wanted to include what is happening north of the border all around me. The Canadian postal strike was in full force. ‘I guess I’ll read the mail instead, there’s nothing wrong with that’ – as my way of relating that, no matter where you are, things are getting tough for us all.”
“This song is my love letter to the underdogs and oppressed. The people I share my life with are constrained by the heavy weight of right-wing ideology that pervades our everyday life. We fear for our livelihoods and futures.”
That fear, and the love born from it, give “Laundromats” its weight. Following their 2024 debut Hard Feelings, Soft Promises, Pillow Fite continue to braid sadness with strength – finding catharsis in community, and hope in honesty. “Laundromats” doesn’t offer escape; it offers solidarity, and sometimes that’s the most powerful kind of comfort there is.
:: “Abigail” – Afternoon Bike Ride ::
Mitch Mosk, Beacon, New York
Montreal trio Afternoon Bike Ride have always found beauty in motion – in the constant hum of life, love, and loss. On their new album Running With Scissors, they turn that restlessness into revelation. “Abigail,” a highlight off the record, is utterly and absolutely breathtaking. It’s beautiful, bold, and deeply evocative – a jazzy, dreamy reverie that feels at once tender and transcendent. Afternoon Bike Ride’s sound has always thrived in the space between intimacy and infinity, but this song takes that to another level. Lia Kurihara’s voice is spellbinding – hushed yet powerful, every whisper trembling with emotion. When she soars high, it’s shiver-inducing; when she softens, it’s like being held. There’s poetry in her restraint, and a quiet magic in her surrender.
Comprised of Kurihara, Éloi Le Blanc-Ringuette, and David Tanton, Afternoon Bike Ride build worlds out of weightless textures and gentle rhythms. On “Abigail,” that sound becomes a vessel for wonder and reincarnation, exploring who we were, who we are, and who we might become. “I met a little girl this summer who I think was my old friend from a previous life,” Kurihara shares. “Her name is Abby, she told me she spoke to the ants and her friend is a tree. She held my gaze steady from the back seat while her dad drove away and my cousin (her aunt) told me she speaks with ghosts.”
“When I was a baby, my mom had my astrology read and the person told her I was a model in Paris. As a child, I believed my parents in this life were my siblings from another life. I wonder if my dad will speak to me through my computer when he’s gone or will he be one of the trees that I always greet when entering the woods… or is this his last life, my last life? Maybe I won’t reincarnate.”
Who are we? Who were we? How will we be remembered – and will we ultimately be erased?
That curiosity – and grief, and love – defines Running With Scissors, Afternoon Bike Ride’s fourth studio album and one of their most soul-stirring bodies of work to date. “The album as a whole has been the idea of life as a big lesson,” Kurihara says. “And I guess these songs are some classes I’ve taken – falling out of love, falling back in love, regret, embarrassment, grief, losing control. The experiences we live shape who we are and, in my case, are replacing the parent I’ve lost. I’m finding my way through this world now with the comfort of knowing I’ll never know it all.”
Across twelve tracks, the trio balance emotional vulnerability with sonic serenity. Songs like “Miss Universe” and “Oh No!” shimmer with self-reflection, capturing the beauty and exhaustion of being human – the way pain and peace can coexist in the same breath. Running With Scissors feels like a meditation on impermanence: An album about holding on and letting go, about living fully even as the world keeps changing shape.
“Abigail” may be about past lives, but in the here and now, Afternoon Bike Ride sound more alive than ever.
:: “My Composer” – Samuel Warburton ::
Julius Robinson, California
Samuel Warburton’s new release “My Composer” immerses listeners in a dreamy world woven with openness, desire, and true connection. His piece is wholly heart stirring and emotive. The more you hear it the more you feel transported to a far off land lived once in a memory. Warburton reveals, “‘My Composer’ is a sonic tapestry where emotion becomes melody and every lyric resonates with intimate vulnerability.” The haunting track is his most deeply personal and impassioned project so far.
Originally from the small town of Preston, Idaho, the one made famous by Napoleon Dynamite, Samuel Warburton grew up a farm kid with big-city ambitions. Music quickly became his guide, taking him from rural roots to the recording studio. In 2023, Samuel, proudly Queer, reached a career highlight performing at WeHo Pride, hosted by NSYNC’s Lance Bass. This memorable moment reinforced his impact on both the pop and LGBTQ+ music scenes.
:: Harlem – The Reverend Shawn Amos ::
Julius Robinson, California
Marking 25 years since its debut, The Reverend Shawn Amos’ celebrated album Harlem is back and fully remastered. Originally released in 2000, Harlem was a powerful and unconventional debut, merging blues, folk, country, and gospel with narratives deeply rooted in Black American history and personal experience. In an era ruled by bubbly pop and polished boy bands, Amos delivered work that was refreshingly honest. Inspired by the idols like Langston Hughes, there is a profound magnetism in each compelling piece.
The offering opens with “Independence Day.” With a voice, both firm and luminous, the track beautifully expresses things such as… the harsh existence of a North Carolina sharecropper as well as Black soldiers returning from World War I to a world of unemployment and racial terror. This stunning song delivers a moving message that everyone should hear. “Blackface” is another strong creation. You can feel that deep distress in his voice as he sings, “The king is dead / and all his words have been forgotten.” It begs the question which King – Dr. Martin Luther or Christ – and the answer is both. The record closes with “Southern Man” (Live Brooklyn 2004), which delivers yet another powerful story. Lyrics include “Southern man better keep your head. Don’t forget what your good book says. Southern change gonna come at last. Now your cross is burning fast.” Those words hit greatly in your soul.
Prior to his mother’s death, Amos was naturally growing into his artistry – a man with guitar and harmonica in hand, pen and paper ready, and a passion for music that led him around the world while revealing new inner landscapes. He hadn’t yet become the Rev. Shawn Amos he is today, but it feels inevitable that the name would ultimately claim him.
:: “bloodmoon” – Dom Malin ::
Mitch Mosk, Beacon, New York
Dom Malin’s “bloodmoon” is a tender tempest – an indie folk reverie with a deep electro-acoustic pulse, its pull organic and intimate, tender and intentional. The song moves like a tide: Soft and still, yet full of undercurrents that ache and shimmer. The East Midlands singer/songwriter’s voice, warm and weathered, glows through the arrangement like a steady flame – flickering between longing and peace. It’s the kind of song that stops you mid-thought, not because it demands your attention, but because it quietly earns it.
“‘bloodmoon’ is a tender and nostalgic reflection on the kind of connection that never truly fades – that one person who holds a piece of your heart, no matter how much time has passed or how many lives you’ve lived since,” Malin shares. “I wrote it while revisiting Seattle, a city that feels like a living memory in itself. The song became a metaphor for that rare, gravitational bond – like the blood moon, it’s something beautiful, raw, and awe-inspiring, something you don’t see every day but feel the pull of when it appears. It’s about the quiet comfort of knowing that someone’s presence, even from afar, still brings warmth and light to your life. Musically, it’s atmospheric and intimate – shaped by soft melancholy, glowing hope, and a deep sense of belonging.”
There’s something magnetic about “bloodmoon,” the way it fuses nostalgia and renewal in a single breath. Its production hums with warmth and quiet grace – echoing the delicate push and pull of memory and time. Malin captures the weight of connection in its purest form, crafting a love song not about possession, but presence – the kind that lingers like light after dusk.
:: “Is It Enough Yet?” – Dan Thomas ::
Danielle Holian, Galway, Ireland
With “Is It Enough Yet?,” Dan Thomas proves that authenticity never goes out of style. The track stands tall at the crossroads of folk, rock, and punk, becoming a meeting place for soul-searchers and truth-tellers. Thomas walks the tightrope between introspection and universality. His words cut to the bone, simple yet disarming, as he dissects the tug-of-war between self-belief and self-doubt. He doesn’t pretend to have the answers, but that’s exactly what makes the song so compelling: It’s real.
The production is both expansive and grounded. Acoustic textures meet driving rhythms, with a melodic pulse that echoes the urgency of Foo Fighters but the soul of Frank Turner. Thomas’s vocal delivery is a revelation, rough around the edges but rich with sincerity. The song reflects the insecurities that come with chasing dreams, but it also celebrates the courage to keep going. It’s a tune you’ll hum long after it ends, not because it’s catchy (though it is), but because it means something.
:: “The One” – Tears of Happiness ::
Joe Beer, Surrey, UK
ATears of Happiness are a UK electronic-pop project formed of singer, lyricist and front man Bally Meeda and collaborator LCamz. Their latest single “The One” marks a bold new chapter, after having taken a hiatus from releasing. With their songs often written around personal experiences and moments that shape their lives, the newest track follows suit, delving into a story of post-breakup.
“The One” reflects a moment of renewal. The lyrics represent someone trying to find light after a long stretch of darkness. Lines like “so many lovers under the covers” and “why do I bother to try to find my one love” suggest fatigue and disappointment, but the recurring “I’m not giving up” flips that pain into resilience. Born from a place of heartbreak, anxiety, and recovery, Tears of Happiness are using music as a way to move forward and remind listeners that love and life are still worth holding out for.
With a fast-paced ’80s inspired beat, colourful synths and ethereal vocals, “The One” emits an upbeat and uplifting feel, despite its reflective theme. It feels almost like a motivational anthem, encouraging you to keep powering through whatever life throws.
:: “Other Side” – John-Robert ::
Mitch Mosk, Beacon, New York
John-Robert’s “Other Side” is a soft, cinematic reverie full of organic warmth and wonder. It aches naturally, intentionally, intimately. There’s passion, pain, and raw yearning in every note – a deeply human sadness that ripples through his voice and his guitar alike. It’s a moody, melancholic confessional; a diary entry to a late family member, filled with love, memory, and farewell.
The Virginia-born singer-songwriter wrote “Other Side” in tribute to his grandmother, crafting a song that feels both private and universal – an elegy for connection, for closure, for the things left unsaid. “I can no longer hold you close / You must explore the unknown / Could you squeeze my hand just one last time / Before you have to go,” he sings, his words heavy but gentle, grief dissolving into grace.
“My grandmother was in hospice care while I was living in Los Angeles, and I was getting updates on her condition from my mother over the phone,” John-Robert shares. “I thought about my mom and how she was losing her mother. I thought about how I’d feel losing my mother.”
“I’m ashamed to say mom-mom and I weren’t extremely close. After her passing, I felt like I lost out on getting to know someone who heavily influenced and created my favorite person. She was caring, kind, quick-witted and smart. When you talked with her, you felt like the only person left on planet earth. Our last conversation, we shared in agreement that there should be no stigma around adults climbing trees.”
“Around that time my roommate left a guitar out with the tuning EACGBE. I’m a sucker for alternative tunings. I found some chords that felt dark and ethereal.”
“Other Side” feels like a quiet reckoning, its simplicity amplifying its soul. The song hums with the spirit of the Shenandoah Valley – earthy, tender, and alive. Since returning home to Virginia after years in Los Angeles, John-Robert has reconnected with the roots that made him: The rivers, the hills, the family who raised him. That grounding gives “Other Side” its depth – a song not just about loss, but about finding your way back to where you began.
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