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ATYYA’s ‘How We Hit It’ Celebrates Bass Culture

ATYYA’s ‘How We Hit It’ Celebrates Bass Culture

Canadian producer ATYYA has released his uplifting and expansive new track 'How We Hit It'. The electronic artist, Tyy Clark, is grounded in a multitude of influences.

 BLACK FONDU Paves the Way with 'Holla Back Girl'

BLACK FONDU Paves the Way with 'Holla Back Girl'

London-based rapper and producer BLACK FONDU, who has roots in Accra, has revealed details about his upcoming debut EP. The genre-defying artist garnered attention with his latest single 'im not.

 Canetis is back with his new single, ‘JOANA’.

Canetis is back with his new single, ‘JOANA’.

Canetis has released his new single, ‘JOANA’. Crafting a love letter to Brazil, the Italian producer DJ presents a colorful and energetic track. From

 When you think of a Queens Of The Stone Age live performance, you might picture loud volume, powerful riffs, and high-energy rock music. However, what you might not anticipate are candles, orchestral arrangements, and an incredible guest appearance from Matt Berry. Fans were informed from the beginning that tonight’s concert at the iconic Royal Albert Hall in London would differ from their usual shows – indeed, with the Hallowe’en theme, it took on an eerie quality. Concluding their Catacombs tour in a remarkable fashion, Queens Of The Stone Age tapped into supernatural energies, keeping their signature intensity but showcasing it in an altered manner. By incorporating strings, horns, diverse percussion, and keyboards, they drew comparisons to the Violent Femmes or Nick Cave and the Bad Seeds, yet maintained a unique, rebellious charm. It certainly helps that Josh Homme remains one of rock’s standout frontmen, captivating in any scenario. Roaming the stage with a lamp – and at one point, a butcher’s cleaver – he embodies both mesmerizing theatre and real danger. A captivating presence, his frequent interactions with the audience incite excitement among female fans and jealous glances from their partners. There are also a few risqué jokes sprinkled throughout – nothing was left unsaid. Ultimately, the music is where Queens Of The Stone Age truly excels. Diminishing volume and embracing acoustic sounds – it’s not exactly an ‘unplugged’ show, but it's close – we are treated to a remarkable three-part sequence that transitions from fan favorites to lesser-known tracks, including something completely new. ‘Running Joke / Paper Machete’ serves as a fantastic opener, with the band visibly warming up on stage. The Them Crooked Vultures classic ‘Spinning In Daffodils’ makes a rare appearance in the second act, while the finale features a stunning, near-orchestral rendition of ‘The Vampyre Of Time And Memory’ and a vocal performance of ‘Auto Pilot’ by Michael Shuman. The new song ‘Easy Street’ has a lively salsa feel, with the audience invited to join in clapping – there's also a dual guitar solo that exudes both LA sleaze and a Fripp-inspired improvisation. Josh Homme is clearly in his element, both teasing and entertaining the audience. There are no barriers here; at one point he reflects on his previous physical performances, nearly apologizing. It’s all about personal growth, balanced with a playful sense of humor. Waving off security, he jokes: “I don’t need protection… I need affection!” Closing the show with ‘Long Slow Goodbye’, Queens Of The Stone Age took advantage of the historic organ at the venue, unleashing thunderous chords from the massive instrument. Josh Homme and Michael Shuman delivered the vocals a cappella, before the organist dramatically revealed his identity – it was Matt Berry! A truly unforgettable finale, it encapsulates the meticulous detail and extravagant entertainment that Queens Of The Stone Age has provided during this catacombs era – let’s hope it doesn’t remain hidden forever. SET LIST: Act I Running Joke / Paper Machete Kalopsia Villains of Circumstance Suture Up Your Future I Never Came Act II Someone’s in the Wolf / A Song for the Deaf / Straight Jacket Fitting Mosquito Song Keep Your Eyes Peeled Spinning in Daffodils (Them Crooked Vultures cover) Act III “You Got a Killer Scene There, Man…” Hideaway The Vampyre of Time and Memory Auto Pilot (Michael Shuman on vocals) Easy Street (new song) Fortress…Like Clockwork Encore: Long Slow Goodbye (Joshua Homme and Michael Shuman a cappella, with Matt Berry on the Royal Albert Hall Organ)

When you think of a Queens Of The Stone Age live performance, you might picture loud volume, powerful riffs, and high-energy rock music. However, what you might not anticipate are candles, orchestral arrangements, and an incredible guest appearance from Matt Berry. Fans were informed from the beginning that tonight’s concert at the iconic Royal Albert Hall in London would differ from their usual shows – indeed, with the Hallowe’en theme, it took on an eerie quality. Concluding their Catacombs tour in a remarkable fashion, Queens Of The Stone Age tapped into supernatural energies, keeping their signature intensity but showcasing it in an altered manner. By incorporating strings, horns, diverse percussion, and keyboards, they drew comparisons to the Violent Femmes or Nick Cave and the Bad Seeds, yet maintained a unique, rebellious charm. It certainly helps that Josh Homme remains one of rock’s standout frontmen, captivating in any scenario. Roaming the stage with a lamp – and at one point, a butcher’s cleaver – he embodies both mesmerizing theatre and real danger. A captivating presence, his frequent interactions with the audience incite excitement among female fans and jealous glances from their partners. There are also a few risqué jokes sprinkled throughout – nothing was left unsaid. Ultimately, the music is where Queens Of The Stone Age truly excels. Diminishing volume and embracing acoustic sounds – it’s not exactly an ‘unplugged’ show, but it's close – we are treated to a remarkable three-part sequence that transitions from fan favorites to lesser-known tracks, including something completely new. ‘Running Joke / Paper Machete’ serves as a fantastic opener, with the band visibly warming up on stage. The Them Crooked Vultures classic ‘Spinning In Daffodils’ makes a rare appearance in the second act, while the finale features a stunning, near-orchestral rendition of ‘The Vampyre Of Time And Memory’ and a vocal performance of ‘Auto Pilot’ by Michael Shuman. The new song ‘Easy Street’ has a lively salsa feel, with the audience invited to join in clapping – there's also a dual guitar solo that exudes both LA sleaze and a Fripp-inspired improvisation. Josh Homme is clearly in his element, both teasing and entertaining the audience. There are no barriers here; at one point he reflects on his previous physical performances, nearly apologizing. It’s all about personal growth, balanced with a playful sense of humor. Waving off security, he jokes: “I don’t need protection… I need affection!” Closing the show with ‘Long Slow Goodbye’, Queens Of The Stone Age took advantage of the historic organ at the venue, unleashing thunderous chords from the massive instrument. Josh Homme and Michael Shuman delivered the vocals a cappella, before the organist dramatically revealed his identity – it was Matt Berry! A truly unforgettable finale, it encapsulates the meticulous detail and extravagant entertainment that Queens Of The Stone Age has provided during this catacombs era – let’s hope it doesn’t remain hidden forever. SET LIST: Act I Running Joke / Paper Machete Kalopsia Villains of Circumstance Suture Up Your Future I Never Came Act II Someone’s in the Wolf / A Song for the Deaf / Straight Jacket Fitting Mosquito Song Keep Your Eyes Peeled Spinning in Daffodils (Them Crooked Vultures cover) Act III “You Got a Killer Scene There, Man…” Hideaway The Vampyre of Time and Memory Auto Pilot (Michael Shuman on vocals) Easy Street (new song) Fortress…Like Clockwork Encore: Long Slow Goodbye (Joshua Homme and Michael Shuman a cappella, with Matt Berry on the Royal Albert Hall Organ)

"I don this crown / I never requested it," singer Amy Walpole expresses in the title track of 'FEVEREATEN', Witch Fever’s second album. The Manchester

 Queens Of The Stone Age Connect With the Primitive at London’s Royal Albert Hall

Queens Of The Stone Age Connect With the Primitive at London’s Royal Albert Hall

When you imagine a Queens Of The Stone Age concert, you likely picture loud volumes, powerful riffs, and high-energy rock music. What you might not have anticipated is

 Lankum Offers Chilling Interpretation of The Specials' ‘Ghost Town’

Lankum Offers Chilling Interpretation of The Specials' ‘Ghost Town’

The Irish band Lankum has released their haunting version of The Specials' iconic track 'Ghost Town'. The group has created remarkable music up to this point, earning

 Today's Track: BEL Captures a Dreamlike Essence with Her Song "Parachute" - Atwood Magazine

Today's Track: BEL Captures a Dreamlike Essence with Her Song "Parachute" - Atwood Magazine

Indie pop artist to watch, BEL, showcases an ethereal allure on “Parachute,” the vibrant and optimistic final song from her debut album, ‘Holy Grail.’

 Interview: The Bones of J.R. Jones Connects with His Inner Self on ‘Radio Waves,’ a Personal Album of Memories in Flow - Atwood Magazine

Interview: The Bones of J.R. Jones Connects with His Inner Self on ‘Radio Waves,’ a Personal Album of Memories in Flow - Atwood Magazine

Raw, introspective, and deeply human, The Bones of J.R. Jones’ sixth album ‘Radio Waves’ radiates with the soft glow of faint summer streetlights and the resonance of memories in transition. In a discussion with Atwood Magazine, Jonathon Linaberry shares his thoughts on nostalgia, transience, and the subtle process of reconnecting with oneself.

 When your world falls apart, the only option left is to reflect – a reality that Salt Lake City’s The Moss understands deeply, navigating through their poignant lyrics in their touching single “Oasis.” Follow our Today's Song(s) playlist Listen: “Oasis” – The Moss Oahu marked the beginning of something remarkable for teenage friends Tyke James and Willie Fowler. They formed a band called The Moss, and the rest is history. They have recently added a third member, Tyler Harris, on guitar. Influenced by artists like Pinegrove and Kevin Morby, The Moss infuses their roots and intricate lyrics into vibrant indie rock songs. Lead singer and songwriter Tyke James draws from his personal experiences to inspire the band’s lyrics – and “Oasis,” from their latest EP, Free Ride, reflects this. Devoting yourself entirely to someone leads to a feeling of being lost in their absence. When that connection is severed, it becomes evident how much you depended on them, often at the cost of your own identity. Free Ride – The Moss An oasis symbolizes an escape from the chaos of reality – a moment where turmoil is paused and life can flourish. It serves as a retreat from the world, highlighting life's invaluable treasures. One's inner thoughts quiet down, and instinctively, a person finds freedom. Everyone has their own sanctuary, and for James, it’s the bond he shared with a specific person. “‘Oasis’ is about discovering someone at a certain moment who makes you feel acknowledged,” shares The Moss’ frontman. “It’s about how essential yet short-lived it is to have someone to confide in.” You became my oasis And I lay my arms down for good Because of all the places My peace was right here next to you Oh, you The line, “My peace was right here next to you,” conveys the sentiment that without his oasis, James was left unsettled. His sense of peace relied on this individual, and with their departure, he feels adrift. I don’t wanna be sad for myself I just wanna be real And it takes time to process everything I feel With that being said I don’t have much to say Turns out my thoughts haven’t been much but in the way The Moss © S-Curve Records Oases can be misleading – they reveal a life that exists only in dreams. When someone catches a glimpse of this, they begin to envision what their life could resemble in this new existence. The heart takes precedence, while logic recedes. An oasis can distract a person from their troubles, but it ultimately offers merely a temporary reprieve. Despite the emotional uplift it brings, every oasis must eventually fade. The trio recently announced plans for a six-week headlining tour in 2026. Check out the dates below: 4/2 – Seattle, WA – The Crocodile 4/3 – Portland, OR – Hawthorne Theater 4/4 – Eugene, OR – WOW Hall 4/6 – San Francisco, CA – The Independent 4/9 – Los Angeles, CA – The Troubadour 4/10 – San Diego, CA – The Quartyard 4/11 – Phoenix, AZ – Crescent Ballroom 4/14 – Austin, TX – Mohawk 4/15 – Dallas, TX – Club Dada Outdoors 4/18 – Nashville, TN – Basement East 4/20 – Carrboro, NC – Cat’s Cradle 4/22 – Washington, DC – Union Stage 4/23 – Philadelphia, PA – Brooklyn Bowl Philadelphia 4/24 – New York, NY – Music Hall of Williamsburg 4/25 – Boston, MA – Paradise Rock Club 4/27 – Pittsburgh, PA – Thunderbird Cafe 4/29 – Ann Arbor, MI – Blind Pig 4/30 – Columbus, OH – Skully’s 5/1 – Indianapolis, IN – Hi-Fi 5/2 – Chicago, IL – Thalia Hall 5/6 – Minneapolis, MN – Fine Line 5/7 – Madison, WI – Majestic Theater 5/8 – St. Louis, MO – Off Broadway 5/9 – Kansas City, MO – Madrid Theater 5/11 – Omaha, NE – Slowdown 5/13 – Fort Collins, CO – Aggie Theater 5/14 – Englewood, CO – Gothic Theater — — :: Stream or purchase Free Ride here :: :: Connect with The Moss here :: — — Listen: “Oasis” – The Moss — — — — Connect with The Moss on Facebook, X, TikTok, Instagram Discover new music on Atwood Magazine © S-Curve Records Follow our daily playlist on Spotify :: Stream The Moss ::

When your world falls apart, the only option left is to reflect – a reality that Salt Lake City’s The Moss understands deeply, navigating through their poignant lyrics in their touching single “Oasis.” Follow our Today's Song(s) playlist Listen: “Oasis” – The Moss Oahu marked the beginning of something remarkable for teenage friends Tyke James and Willie Fowler. They formed a band called The Moss, and the rest is history. They have recently added a third member, Tyler Harris, on guitar. Influenced by artists like Pinegrove and Kevin Morby, The Moss infuses their roots and intricate lyrics into vibrant indie rock songs. Lead singer and songwriter Tyke James draws from his personal experiences to inspire the band’s lyrics – and “Oasis,” from their latest EP, Free Ride, reflects this. Devoting yourself entirely to someone leads to a feeling of being lost in their absence. When that connection is severed, it becomes evident how much you depended on them, often at the cost of your own identity. Free Ride – The Moss An oasis symbolizes an escape from the chaos of reality – a moment where turmoil is paused and life can flourish. It serves as a retreat from the world, highlighting life's invaluable treasures. One's inner thoughts quiet down, and instinctively, a person finds freedom. Everyone has their own sanctuary, and for James, it’s the bond he shared with a specific person. “‘Oasis’ is about discovering someone at a certain moment who makes you feel acknowledged,” shares The Moss’ frontman. “It’s about how essential yet short-lived it is to have someone to confide in.” You became my oasis And I lay my arms down for good Because of all the places My peace was right here next to you Oh, you The line, “My peace was right here next to you,” conveys the sentiment that without his oasis, James was left unsettled. His sense of peace relied on this individual, and with their departure, he feels adrift. I don’t wanna be sad for myself I just wanna be real And it takes time to process everything I feel With that being said I don’t have much to say Turns out my thoughts haven’t been much but in the way The Moss © S-Curve Records Oases can be misleading – they reveal a life that exists only in dreams. When someone catches a glimpse of this, they begin to envision what their life could resemble in this new existence. The heart takes precedence, while logic recedes. An oasis can distract a person from their troubles, but it ultimately offers merely a temporary reprieve. Despite the emotional uplift it brings, every oasis must eventually fade. The trio recently announced plans for a six-week headlining tour in 2026. Check out the dates below: 4/2 – Seattle, WA – The Crocodile 4/3 – Portland, OR – Hawthorne Theater 4/4 – Eugene, OR – WOW Hall 4/6 – San Francisco, CA – The Independent 4/9 – Los Angeles, CA – The Troubadour 4/10 – San Diego, CA – The Quartyard 4/11 – Phoenix, AZ – Crescent Ballroom 4/14 – Austin, TX – Mohawk 4/15 – Dallas, TX – Club Dada Outdoors 4/18 – Nashville, TN – Basement East 4/20 – Carrboro, NC – Cat’s Cradle 4/22 – Washington, DC – Union Stage 4/23 – Philadelphia, PA – Brooklyn Bowl Philadelphia 4/24 – New York, NY – Music Hall of Williamsburg 4/25 – Boston, MA – Paradise Rock Club 4/27 – Pittsburgh, PA – Thunderbird Cafe 4/29 – Ann Arbor, MI – Blind Pig 4/30 – Columbus, OH – Skully’s 5/1 – Indianapolis, IN – Hi-Fi 5/2 – Chicago, IL – Thalia Hall 5/6 – Minneapolis, MN – Fine Line 5/7 – Madison, WI – Majestic Theater 5/8 – St. Louis, MO – Off Broadway 5/9 – Kansas City, MO – Madrid Theater 5/11 – Omaha, NE – Slowdown 5/13 – Fort Collins, CO – Aggie Theater 5/14 – Englewood, CO – Gothic Theater — — :: Stream or purchase Free Ride here :: :: Connect with The Moss here :: — — Listen: “Oasis” – The Moss — — — — Connect with The Moss on Facebook, X, TikTok, Instagram Discover new music on Atwood Magazine © S-Curve Records Follow our daily playlist on Spotify :: Stream The Moss ::

Anna Lynch’s debut single “Wake Up” is more than just an initial release; it's a complete release of breath. Blending jazz-infused instrumentation with a pop-infused warmth and introspective lyrics, the Manchester-based artist creates an auditory reminder that it's okay to fall apart, grow, and start anew.

Interview: The Strumbellas Are Prepared to Dismantle Everything – in a Positive Light - Atwood Magazine

Interview: The Strumbellas Are Prepared to Dismantle Everything – in a Positive Light - Atwood Magazine

Canadian band The Strumbellas delves into deeper emotions and a broader soundscape in their latest EP ‘Burning Bridges into Dust,’ all while retaining the essence that endeared them to their fans.

 Wet Leg Announce Three Huge Outdoor Concerts

Wet Leg Announce Three Huge Outdoor Concerts

Wet Leg have announced three significant outdoor performances for the summer of 2026. The band has had an amazing year after the success of their No. 1 album 'moisturizer.'

Hayley Williams is the inaugural face of CLASH 132.

Hayley Williams is the inaugural face of CLASH 132. Secure your copy now HERE. As one of the most prominent alternative icons of her generation, Hayley Williams has

 The Charlatans – We Are Love

The Charlatans – We Are Love

The Charlatans begin an exciting new phase with a set of meticulously crafted tracks. Some of the recording took place at the iconic Rockfield Studios, a location rich in history.

Modern Music News: Fresh Releases, Chart-Toppers, and Key Industry Events

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Our dedicated team leaves no detail uncovered—from the behind-the-scenes process of creating hit songs to announcements of upcoming tours and concerts. We publish interviews with emerging artists and discuss the trends shaping various genres, from pop and rock to electronic and experimental music. Additionally, we keep a close eye on the evolving tech landscape, exploring how streaming platforms are changing the way fans engage with their favorite artists.

Join our community of music lovers and be the first to learn about exciting premieres, groundbreaking news, and the trends driving the future of the industry. Stay up to date, explore fresh sounds, and celebrate all that modern music has to offer—right here with us!

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