Mitch Mosk

I want to love you but I won't survive / Reaching for me through a slow strobe light… C harlene Kaye was shredding guitars long before her comedy made her a viral sensation.

Nashville singer/songwriter James Droll reclaims the stories he was once taught to hide through Big Guy & The Very Large Men, channeling them into dreamy, campy, and y'allternative music that celebrates the glorious mess of being alive. On the achingly beautiful “RED DOOR” ft. Abby Cates – premiering exclusively on Atwood Magazine – he offers a bittersweet love letter to the city that broke his heart and became his home, carrying the fearless storytelling of his debut EP ‘soft hands, hard times' into a compelling new chapter with the forthcoming ‘PERMADEATH.'

U nder the violet blossoms of a jacaranda tree, Spring Term imagines a love big enough to hold time still.

Indie pop darlings Oh Wonder return with defiant optimism and renewed purpose on “Mad World,” a breathtaking, soul-stirring anthem that confronts a world on fire with an urgent plea to hold on to love. At a time when despair can seem like the only reasonable response, their music offers shelter from the weight of the world and the courage to believe that, even in the darkest times, we're going to find a way.

After years of being told to sing louder, Hamburg-based artist MUANH embraces the power of her own voice on ‘hush,' a spellbinding six-track debut EP that makes intimacy and restraint the foundation of its sound. Beginning with the breathtaking “already know,” the record follows love from its intoxicating first moments through disappointment and self-doubt toward the hard-won freedom of trusting yourself.

Brisbane singer/songwriter Lottie McLeod embraces the heartbreak, hilarity, and beautiful contradictions of growing up on ‘The Boathouse,' a dazzling sophomore EP steeped in dreamy indie pop and intimate folk warmth. With unflinching honesty, disarming tenderness, and an irresistible sense of humor, she gives voice to the feelings we often struggle to articulate, inviting listeners to recognize their own lives in hers. The result is a record that celebrates the glorious mess of being young and the freedom of becoming yourself.

Gloriously eccentric and defiantly original, Laila Smith's ‘Something Dreadful Is Going to Happen' is a breathtakingly beautiful, fiercely imaginative debut EP whose spellbinding art pop songs and surreal interactive world explore the disorienting aftermath of sexual violence with extraordinary emotional depth. In an intimate conversation with Atwood Magazine, the Los Angeles-based artist discusses grief as performance, beauty as a strategy for being heard, and the uncompromising creative vision that distinguishes her as one of the year's most compelling artists-to-watch.

Brooklyn singer/songwriter Adelide celebrates the messy privilege of growing older on ‘The Way Up,’ a sun-kissed sophomore EP that channels the heartbreaks and upheavals of her twenties into irresistible, soul-stirring pop music, inviting us to dance through our own unfinished stories and embrace the people we're becoming.

J ahson Paynter knows love is a losing bet, but he keeps putting pieces of himself on the table.

Scottish indie pop band Lucia & The Best Boys make heartbreak sound magnificent on “Big Romance,” a towering duet with The Last Dinner Party's Abigail Morris that channels the ache of wanting someone back into an utterly irresistible, beautifully cinematic chorus. In conversation with Atwood Magazine, frontwoman Lucia Fairfull reveals the friendship that gave the song a second life, her newfound confidence as a singer, and the close-knit Glasgow community fueling ‘Picking Petals,' a boldly theatrical sophomore album brimming with the sheer joy of making music together.