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 Laufey, Dijon, Luna Li, Hope Tala, Luke Marzec, Bre Kennedy, I’ll show you magic, Shiner, Casey Dienel, Diana Pilquist, Dance Lessons, Lexie, Avery Cochrane, Jessey Adams, My Mom Is Here, Birds Flying Backwards, & Angel T33th!
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:: “Snow White” – Laufey ::
Cassandra Fong, United Kingdom
Laufey’s “Snow White” exposes the harsh realities of society’s toxic obsession with beauty, revealing the emotional toll it takes on women everywhere. With raw honesty, she admits feelings of inadequacy and self-doubt, singing, “I don’t think I’m pretty, it’s not up for debate,” highlighting how societal standards reduce women to their appearance. The haunting chorus, “mirrors tell lies to me,” captures the distorted self-image many struggle with, as they constantly fight to measure up to impossible ideals. Her lyrics shed light on the relentless pressure to be thin and flawless, emphasizing how “skinny always wins” and leaving her feeling like she’ll “never have enough” of the beauty society demands.
Then she takes it even deeper, painting that image of Snow White – the unattainable fairy-tale ideal – as a symbol of everything we’re supposed to want but can’t have. She’s looking at this perfect image, longing for what feels forever out of reach: “Her body is smaller, skin is so fair,” and “she’s achieved everything I’ve dreamed of.” It’s the universal story of comparison, of feeling less, of battling your reflection for a sense of worth. Laufey’s words aren’t just lyrics; they’re a quiet rebellion, a cry for change in a world that keeps telling women they’re not enough. Her voice isn’t shouting; it’s whispering truths that need to be heard – about self-love, authenticity, and finally tearing down the impossible standards that keep us all trapped.
Laufey’s vulnerability isn’t just touching – it’s contagious, making us see that real beauty isn’t about size or shape but about owning your story. As we keep talking about body image and societal pressures, her lyrics remind us that everyone deserves to be valued, loved, and accepted for exactly who they are – no exceptions, no conditions.
:: Baby – Dijon ::
Mitch Mosk, Beacon, New York
Dijon is a singularly stunning trailblazer; he established as much in his 2021 debut Absolutely, and he reasserts that truth throughout his surprise-released sophomore album Baby, captivating through dramatic and cinematic landscapes of R&B-soaked wonder. Through the glitch, through the churn, there is his breathtaking voice – a vessel of charged emotion, of unbridled passion, of all-consuming catharsis and smoldering, seductive warmth. Baby lives in extremes: Tender and raw, explosive and intimate, unfiltered and unafraid.
Made at home in near-isolation with his new family and longtime collaborators Andrew Sarlo, Henry Kwapis, and Michael Gordon, Baby (released August 15th via R&R / Warner Records) is a love-soaked collection of songs that wrestle with what Dijon describes as the “mania of domesticity” – the moments of ecstasy and tragedy associated with life-altering changes.
In this case, that means the arrival of fatherhood and the birth of his first child. He sets the tone with gentle grace on “Baby!” – an opening track that finds him speaking to his newborn, full of love for both child and mother. The heat rises in “Another Baby!” with hot, industrial production reminiscent of Dangerous-era Michael Jackson – a perfect match for Dijon’s aching, searing delivery. The gospel-tinged “HIGHER!” is another standout, its fevered energy carried by his ecstatic cry: “Gotta say, gotta say… Watching u blow up – ballooning! … Just stay in my view, my love, cause you bring it all higher… It’s a miracle, you know? My love.”
Ultimately, this album is soaked in love, soaked in passion, soaked in Dijon’s raw, honest heart. It’s a dazzling, dizzying, spectacularly bold fever dream from end to end – the kind of record that doesn’t just follow up a generational debut, but dares to redefine what comes next. Full of sweet twists, sonic turns, and special surprises, it’s music you’ll never hear the same way twice.
:: “I Imagine” – Luna Li, Hope Tala ::
Julia Dzurillay, New Jersey
For her re-”imagined” version of When a Thought Grows Wings, Luna Li enlisted the help of some of alternative indie-pop’s most beloved artists. A personal favorite was Hope Tala on “I Imagine.” Sure, it’s in the same neighborhood as “Bennie And The Jets,” but Hope Tala has such a distinct and singular voice. It pairs so effortlessly with Luna Li’s deep understanding of music theory, highlighted in her alternative jazz-y sound.
This song, in particular, proves to be more marketable to the general audience than other tracks in this collection – juxtaposing “windy” lyrics and a plucky yet wistful instrumental. Luna Li and Hope Tala maximize their joint slay, for lack of a better word, with their latest collaboration.
:: “Broken Promises” – Luke Marzec ::
Josh Weiner, Washington DC
Luke Marzec had a new album come out this month entitled Something Good Out of Nothing. I still need some time to listen to the entire album, but I can say that I’m a fan of the single from the project, “Broken Promises,” that was sent my way last month. Despite the fact that this is to be his debut LP, Mazrec is a good seven years removed from his first formal release, the 2018 EP Chances, and he’s been actively performing in jazz bands around his native United Kingdom throughout the ensuing period.
Listening to “Broken Promises,” it’s clear we are in the hands of such a well-seasoned musician as that. The jazz instrumental, largely dominated by the saxophone, is immensely appealing, as are Mazrec’s soothing vocals as he sends a heartfelt farewell to a friend he is about to part ways with. “Should you never, ever return, yeah I’ll miss you brother,” he sings. “But I know that you have found a better world out there. So, go on and take it!”
As the songwriter summarizes: “This is a song about new beginnings, leaving the past behind and looking forward to a better day. It has a lot going for it.” Indeed, the accompanying album, Something Good Out of Nothing, should have even more going for it, given that it features an additional eight tracks of this British-Polish jazz master at work. I enjoyed the little preview I had of this album, and I’m very happy that the full package is now seeing the light of day.
:: “Good Grief” – Bre Kennedy ::
Aileen Goos, Winnipeg, Manitoba
Bre Kennedy’s new single “Good Grief” finds the strange beauty in life’s hardest moments. With her soft, expressive voice – and the grace she’s learning to show herself – she turns personal hardship into something uplifting. Lines like “I sold my guitar for rent / And now I’m dancing in the kitchen with my best friend” capture the quiet resilience of finding joy in small and sometimes defiant acts. Her delivery balances between hurt and healing, showing that, even in loss, there can be moments of connection, clarity and unexpected sweetness.
She leans into the mess, acknowledging that “the proof is in the hurting that’s running down my cheeks,” yet she also finds relief in reframing those moments – “a little less bitter, little more sweet.” The song’s warmth mirrors its message: healing often arrives in ordinary moments, and when it’s good, as she repeats like a mantra, it’s worth holding on to.
:: “Rush” – I’ll show you magic ::
Mitch Mosk, Beacon, New York
I’ll show you magic’s sophomore single “Rush” lives up to its name – a heavy, sludgy indie rock fever dream that aches inside and out as Eva Smittle wrings herself bare. It’s fuzzy, chaotically cathartic, heavy, charged, utterly churning – a white-hot upheaval that blurs the line between release and collapse.
Smittle, who previously performed under the moniker Birthday Girl, found her new name after “scouring through occult texts, begging strangers on the street, and consulting psychics,” only to ultimately credit a higher power: Curtis James Jackson III, aka 50 Cent. With demos born in Brooklyn and shaped by her travels playing in Birthday Girl, Lowertown, and sweet93, she’s now bringing songs to life with producer and co-writer Devon Corey.
“Inspiration is innately ingrained. I believe influence comes before consciousness,” Smittle tells Atwood Magazine. “I’m pulled by the personal: A culmination of through lines from different stories and mazes that are made to make sense. Before I had any concern over my own taste, I heard the artists my parents would play. Falling asleep in the backseat to Sade and Alanis Morissette certainly must have shaped me. The first music I was ever hyper-fixated on was emo; I wanted to make it my entire personality. For better or worse, I see its effect on my music, melodically, texturally, and thematically. I’m inspired by the gritty grinders in NYC and the big hearts in LA: All creating and chasing the same thing. I’m inspired by the bands I’ve played bass for; certainly, the repetition of their songs on my fretboard has shaped how I write bass lines. I’m inspired by my life, by my friends’ lives. I’m inspired by the conversations I have in my mind. I’m inspired by what the kids are listening to. I’m inspired by you.”
That broad palette of influence and experience finds visceral release in “Rush,” where raw riffs and grinding sonics soundtrack Smittle’s unraveling: “It’s a rush to let these days go by this quickly… Do I pick now to kick the habit? Or should I just pick a new one? Let’s get high and fly in circles all around the room.” It’s a soundtrack to futility and fury, to routine collapse and fleeting rebellion, and yet also to survival.
“Rush” doesn’t just sting; it scorches. This is catharsis in its purest, most unhinged form – heavy music with a heavy heart, and a promise that I’ll show you magic is only just beginning to bare her teeth.
:: “Asleep in the Trunk” – Shiner ::
Mitch Mosk, Beacon, New York
Shiner’s supercharged single “Asleep in the Trunk” is a high-energy alt-rock upheaval that scorches the ears and stirs the heart all at once. It’s a pump-up song at its core – an invigorating burst of raw, visceral emotion unleashed through a dynamic, dramatic, cinematic performance that promises to wake up even the most sound sleepers. The Kansas City band (comprised of guitarist/vocalist Allen Epley, bassist/backing vocalist Paul Malinowski, drummer Jason Gerken, and guitarist Josh Newton) come to life through a fiery fury of larger-than-life drums, searing overdriven guitars, and an unrelenting, unquenchable thirst.
“‘Asleep in the Trunk’ began in my office making a loop of what became Paul’s bass line, but with a guitar and recording on my phone memos,” Epley recalls. “After we had laid down the song in KC, we had killer sounding demo’s (actually the final version almost) of the tune. So as I was driving home to Chicago after the writing session, crossing northern Missouri and blasting these tunes, the chorus to this one was just gifted to me. It was right in front of me; just palpable. I almost felt guilty because it was the first idea and I just never tried anything else. Whereas normally I’d try a couple different melody ideas for a chorus just to poke around a bit.”
The words came just as easily: “I keep thinking that we’re still in love / and believe you me I tried, I tried… I’ve been sleeping in the trunk while you drive / I have always been your ride or die.” As Epley explains, “The lyric even fell in right away that day on the way home, mainly the chorus. The main thing I found to lead the way was ‘I keep thinking that we’re still in love’ and it just seemed really interesting. Kind of like, ‘silly me, here I was assuming that our relationship was still a solid thing’ when in fact his partner is in another place altogether. So I took it a step further in that not only was she done with the relationship, she was going get rid of this dude, mob style. She was so over it and this schmuck is just bamboozled. And yet even at the end he’s still in love and would do anything for her.”
That intensity translates into the song’s performance, which barrels forward with gripping urgency. “This tune has an urgency about it too that is really compelling,” Epley adds. “Jason Gerken, our drummer, is allergic to all beats in 3 or 6/8. He calls them ‘beer swingers’ and I agree it can be difficult for a drummer to not play the normal beats you hear on a song in 6, but he truly exceeded even his own high expectations with his stabs and swells and punches in the verses and allows the song to breath, and then crush when the chorus comes in.”
Taken from their forthcoming album BELIEVEYOUME (out September 26 via Spartan Records), “Asleep in the Trunk” is the sound of a veteran band still pushing their sound forward – still heavy, still weird, still burning with fire after more than three decades. It’s Shiner at their most visceral, most urgent, and most unrelenting – a testament to the staying power of one of Kansas City’s finest exports. The song stands as a bold thesis statement for BELIEVEYOUME: Immediate, uncompromising, and impossible to ignore.
:: “Your Girl’s Upstairs” – Casey Dienel ::
Danielle Holian, Galway, Ireland
As a first taste of My Heart Is An Outlaw, Casey Dienel’s forthcoming album, “Your Girl’s Upstairs,” is a gutsy, gorgeously arranged, and quietly confrontational. Lyrically, Dienel doesn’t hold back. Lines like “She played house, played dead…” cut deep, speaking to emotional labor and identity with disarming precision. It’s a song that’s not afraid to bite, but also knows when to simply breath – merged with a defiant, slow-burning gem that bristles with emotional intelligence and sonic ambition. Backed by a stellar cast, Meg Duffy, Spencer Zahn, and Max Jaffe, the Massachusetts artist weaves together looping percussion, layered vocals, and striking guitar work into a track that feels both intimate and theatrical. It’s the sound of an artist returning not with answers, but with something far better: questions, clarity, and an open heart. This is truly a welcome return from an artist who’s always been ahead of the curve.
:: at some point in time… – Diana Pilquist ::
Danielle Holian, Galway, Ireland
Swedish pop sensation Diana Pilquist cements her rising-star status with, at some point in time…, a radiant sophomore EP that balances shimmering sonics with unflinching honesty. Where her debut Disco Daydream leaned into disco sparkle, this project trades glitter for grit, embracing themes of heartbreak, growth, and hard-won self-discovery. Across seven tracks in under 20 minutes, Pilquist proves that brevity can be powerful, weaving theatre-trained storytelling through lush synths, warm guitars, and hooks that refuse to let go. From the cinematic sweep of “White Curtains” to the tender closing notes of “Eyes on Earth,” the EP moves with a sense of emotional clarity, pulling listeners into a journey that feels at once deeply personal and universally resonant.
“Lost Feelings for You” shines as the collection’s emotional anchor, an empowering kiss-off that transforms vulnerability into triumph. Beginning with delicate chords and Pilquist’s silvery vocals, it builds into a soaring anthem of release, punctuated by sharp wit (“I am happy I lost feelings, ‘cause you’re really not that cool”) and a bridge that strips everything bare before swelling back into cathartic harmonies. It’s a perfect microcosm of what Pilquist does best: merging pop immediacy with emotional depth. Fans of Holly Humberstone, Griff, and Maisie Peters will find familiar ground here, but Pilquist’s distinctly Swedish melodic sensibility makes her stand out as an artist carving her own lane. at some point in time… is proof that at just 21, she’s not only writing with wisdom beyond her years, she’s building a pop legacy in real time.
:: Beginners – Dance Lessons ::
Josh Weiner, Washington DC
I’ve just had the two most jazz-filled summers of my life in 2024 and 2025, where I managed to catch festivals of the genre in Montreal, Burlington, Boston, Newport, Washington, DC and more. Among the many lessons I’ve learned from these experiences is that, especially these days, it pays to keep a broad mind as what qualifies as “jazz music.” Not all of modern jazz may have fit in so well in Louis Armstrong’s era, but it remains innovative and multifaceted all the same, and there’s a lot to appreciate in it.
Beginners, the debut album by Dance Lessons, is a fine case in point there. The group was pitched to me as a trio of “London-based jazz-pop futurists,” and it’s taken me some digging to get to the refined definition of that term. The gist of it, as best I can tell, is that they’ve taken some of the trademark features of jazz– saxophone and piano-playing can be heard on multiple tracks, for instance– and fused it with more contemporary, electronica-inspired sounds to create a version of jazz that’s readily palatable for the 2025 crowd. As the group explains, this is the type of the music that might get people who say they don’t like jazz to find something in it that’s made for them, and thus be more ready to embrace the genre as a whole.
Whatever you make of that approach, it’s clear that the three band members here– Anne on the vocals and keys, Nat on the guitars and Tom the bass– are a talented trio and have achieved some wondrous material on Beginners. The album starts off well with the opening track “Smabto”– which the group actually recorded five years ago as their debut single; it’s only just now getting placed on a parent album– and continues strong all the way through. The beautiful singing and deft instrumentals on “Insomnia,” “Just Chemistry,” and more are especially worth singling out for praise. In the end, I’m more than happy to accept Beginners as a shining example of what jazz in the 21st century can represent, and the exciting new platforms the genre can break into when fearless musicians like the Dance Lessons team are willing to get a little innovative.
:: “Plane Jane” – Lexie ::
Grace Holtzclaw, Los Angeles, CA
Lexie is jetting off to new heights with her bold new single “Plane Jane.” The song is a love-letter to ourselves written from the afterglow of heartbreak. It was written at a pivotal point in Lexie’s life where she was traveling across the globe and jumping from city to city. The lyrics of “Plane Jane” celebrate the inner-strength she channeled while exploring new places and the metamorphosis she went through after a tumultuous breakup.
The sonics of “Plane Jane” are warm, inviting, and feel like home. Honeyed licks of electric guitar, rooted bass lines, and fierce vocals collide over free-spirited and playful lyrics. Lexie’s vocal blends a sassy country twang with heartfelt soul-pop harmonies for a sound that’s entirely her own.
Born in the UK and now located in Dubai, Lexie has always had an adventurous spirit and desire to travel the world. She’s played on stages across the globe and at festivals including Primavera Sound (Barcelona and Madrid), Fuji Rock (Japan), and Melt Festival (Germany). “Plane Jane” is Lexie’s latest release, honoring her affinity for globetrotting.
:: “Shapeshifting on a Saturday Night” – Avery Cochrane ::
Chloe Robinson, California
Do you ever catch yourself becoming a different version of who you are just to fit in? Avery Cochrane’s single “Shapeshifting on a Saturday Night” speaks to that relatable feeling. The song is a bright, sparkling pop anthem with an infectious, energetic vibe. She shares, “This song is about not having a strong or prideful sense of self, so you instead morph into whatever you think people want from you, especially in the context of a night out with friends who you suspect don’t truly understand the real you (because you’ve never let them see it!).”
The music video for “Shapeshifting on a Saturday Night,” directed by Marlena Lerner, vividly explores themes of identity and self-expression. Throughout the video, she shifts seamlessly between multiple personas, each representing a different aspect of their identity. The visuals showcase vibrant lighting, surreal transfers, and a blend of vintage and futuristic elements, creating a mood that is simultaneously nostalgic and forward-looking.
Cochrane, a glowing singer-songwriter from Seattle, is quickly becoming a standout name in emerging pop music thanks to her heartfelt lyrics, cinematic sound, and magnetic live shows. Since her arrival on the scene, Avery has gained recognition for her unique talent in conveying raw, emotional stories within a classic pop framework. Her recent single, the fearless queer anthem “Existential Crisis at the Tennis Club,” went viral multiple times on TikTok, and her upcoming release, “Shapeshifting on a Saturday Night,” is already creating buzz, pushing her to the cutting edge of indie music and building a loyal, growing fanbase worldwide. Known for forging strong connections with audiences online and in person, Avery is an LGBTQ artist set to reach new heights.
:: “Old Appalachia” – Jessey Adams ::
Chloe Robinson, California
Rebellious country creator Jessey Adams new single “Old Appalachia” is definitely worth a listen. The compelling track pairs a soaring, crowd-ready chorus with a rich tapestry of acoustic guitars, fiddle, and commanding percussion. The song serves as a heartfelt tribute to Appalachia and the mountain communities that embraced the singer like family. Those mountains are an ideal escape and you can truly feel that in the piece.
Only 20 years old, outlaw country artist Adams has already lived the life of a road-worn troubadour – racking up 300+ shows in just two years and taking home multiple songwriting accolades. Her release, “Old Appalachia,” is a bold homage to the mountains that have been her sanctuary and muse. With over one million TikTok views already, more than 25 planned promo clips, and 100+ tour dates lined up for late summer and fall 2025, Adams is poised for a landmark year.
:: “Woman” – My Mom Is Here ::
Mitch Mosk, Beacon, New York
My Mom Is Here’s “Woman” is a seductive soul-pop stunner – warm, tender, and brimming with cheer. Tight drums and punchy trumpets collide with frontwoman Sam Seiff’s dazzling vocals to elevate an already breathtaking song into something utterly mesmerizing. It’s radiant on the surface, a feel-good groove with brass and bounce, but there’s so much more than meets the eye.
“At first listen, ‘Woman’ sounds like another beachy, self-love anthem. Which, in a way, it is,” Seiff shares. “But beneath the horn lines and cheeky group vocals, it’s really a plea – not just to love yourself, but to think about how constant self-criticism ripples outward.” She grew up in Las Vegas, a city “that openly profits off the objectification of women,” and watched those she loved wrestle with pressure to stay young and relevant. “You look in the mirror / Say that you hate it / Tell me how you think that makes me feel,” she sings, turning private pain into a universal reckoning. “I wanted the women I love to see themselves the way I saw them. But I was also pretty furious that their self-doubt had become my inheritance. There’s pain in that, and a desire to break the cycle. To say: ‘The world has enough little girls.’”
It’s a powerful closer to the band’s debut EP Baby Steps (out now), a record that finds the NYC five-piece questioning what we inherit from family, partners, and even our past selves. “In my early twenties – especially living in a city as self-assured as New York, with the equally certain gaze of my hometown always over my shoulder – I’ve felt a lot of pressure to know who I am and what I stand for,” Seiff says. “But I’m still learning and unlearning. Still taking my first – dare I say – baby steps.”
With their irresistible blend of soul, pop, and rock fusion, My Mom Is Here bring heart and heat in equal measure. “Woman” is both an anthem and an intervention: A vibrant call to love yourself, to break the cycles handed down, and to recognize that the world only has one you.
:: “One Heartbreak to Another” – Birds Flying Backwards ::
Mitch Mosk, Beacon, New York
Birds Flying Backwards turn pain into radiance on “One Heartbreak to Another,” a charming tune full of folk-rock warmth and spirited uplift. It’s reminiscent of the Band at times, with colorful piano flourishes, bongos, and gang vocals adding heat and heart to an already passion-fueled song. Strumming guitars ride a golden groove as India and Joe’s voices intertwine, tender and radiant, turning heartbreak into something sunlit and restorative.
“I guess it’s a heartbreak song, which is a pretty well-worn subject matter but it is also one of the most universal and profound human experiences,” Joe shares. “It was a kind of reflection on love and my life, and how I relate to love in general.” That reflection shines through lines like “One heartbreak to another, that’s the way it goes / We’ll forget each other, forget our heartache and our woes… Now I’m right back where I started, brokenhearted just the same.” Clever and comforting, it’s a reminder that our humanity – and our history – is what makes us who we are, even when it hurts.
Mixed at Abbey Road Studios by Joe Wyatt (The Smile, The Beatles remasters) and mastered by Timothy Stollenwerk (Drugdealer, Kevin Morby), “One Heartbreak to Another” arrives just ahead of Birds Flying Backwards’ sets at The Summer of Psych Fest and The Long Road Festival. Following their debut EP Surrender to the Void, which earned praise from Shindig! and Still Listening Magazine, the London-based band are cementing themselves as purveyors of nostalgic yet timeless folk-rock reverie.
Heartache never sounded so healing. With “One Heartbreak to Another,” Birds Flying Backwards offer not just a balm for the brokenhearted, but a gentle, glowing reminder that love – in all its triumphs and tragedies – is what keeps us human.
:: A Message to Myself – Angel T33th ::
Danielle Holian, Galway, Ireland
Angel T33th’s debut album, A Message to Myself, is a captivating and genre-defying introduction that showcases her artistic depth and emotional honesty. Known as much for her bold creative energy as for her skateboarding roots and visual flair, Angel brings a multifaceted identity into the studio and emerges with a strikingly cohesive body of work. Across nine tracks, she blurs the lines between indie pop, electronic, rock, and soul, each song offering a kaleidoscopic glimpse into the mind of a creator who has clearly done the work of personal excavation.
Highlights like “DAMNU” and “Mika2000” shimmer with infectious hooks and driving beats, while the title track, “Message to Myself”, stands out as a tender centrepiece, a slow-burning anthem of vulnerability and self-acceptance. The album plays like an emotional scrapbook, stitched together from raw voice memos and the fragments of earlier versions of herself, now reimagined with a mature, reflective perspective. Angel’s production feels simultaneously polished and intimate, reminiscent of the dreamy psychedelia of Tame Impala or the lo-fi intimacy of TV Girl, but with a clear signature that’s wholly her own.
What makes A Message to Myself so compelling is its unflinching honesty and sonic richness. Angel T33th has crafted an album that doesn’t just chart her evolution as an artist but invites the listener into their own process of healing and growth. With Austyn Gillette’s subtle collaborative touches and Angel’s fearless storytelling, this release sets a powerful tone for a rising artist unafraid to be seen, heard, and felt.
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