Atwood Journal is happy to share our Editor’s Picks column, written and curated by Editor-in-Chief Mitch Mosk. Each week, Mitch will share a set of songs, albums, and artists who’ve caught his ears, eyes, and coronary heart. There may be a lot unbelievable music on the market simply ready to be heard, and all it takes from us is an open thoughts and a willingness to pay attention. By means of our Editor’s Picks, we hope to shine a lightweight on our personal music discoveries and showcase a various array of recent and up to date releases.
This week’s Editor’s Picks options complete tommy, Park Nationwide, Zzz., Florentenes, mary within the junkyard, & DR DR!
observe EDITOR’S PICKS on Spotify
“Butterknife”
by complete tommy
Tright here’s a line in complete tommy’s “Butterknife” that appears like a intestine punch wrapped in silk: “Combating with a butterknife / Placing me on trial for my self pity crime.” It’s tender, virtually candy – after which it slices you open. That’s the magic of complete tommy. Seductive, dreamy, and dramatic, her first launch since 2024’s debut album bruises is an intimate upheaval: A slow-burning unraveling that rises from a murmur to a fever pitch, with Holt’s haunting vocals giving technique to a hypnotic swirl of guitars and crushing emotional launch.
Headless, left you by yourself
Sorry for the seconds I’m not residence
I wanna waste the time with you
Subsequent week might be higher
Know I stated that again in June
You stated my setback’s costing you a lifetime
Habits from a previous life coming again round like
Circling a road gentle
Combating with a butterknife
Placing me on trial for my self pity crime
A standout follow-up to certainly one of Atwood Journal’s 2024 Albums of the Yr, “Butterknife” builds on complete tommy’s status for baring all of it – for channeling ache and reflection into songs that ache within the intestine and echo within the soul. “Name me out, I’m egocentric / Hanging off the sting of my very own dying want,” she sings within the refrain, her voice cracking open over a mattress of grungy alt-rock warmth. It’s a self-reckoning, not a plea for sympathy. There’s no try to flee accountability – solely an trustworthy depiction of inside chaos bleeding into the relationships that matter most, delivered in a storm of searing, spellbinding overdrive.
Name me out I’m egocentric
Hanging off the sting of my very own dying want
Lock jaw, pores and skin crawl, heavy chest
Simply tryna catch my breath
Whenever you’re calling me out
’trigger I’m so egocentric
“‘Butterknife’ was written a couple of second I had the place I lastly stopped for a second after an argument with a pal, and realised I’d been so caught up in my very own stuff that I’d utterly missed an enormous factor they have been going by means of,” Holt tells Atwood Journal. “It actually put every part into perspective and made me examine in on my associates extra.”
The metaphor of the butterknife cuts in additional methods than one – a logo of lifeless resistance, of attempting to combat however not understanding how. Holt’s traces “Circling a road gentle / Combating with a butterknife” counsel a sample of avoidance and misguided effort, of being caught in previous habits that solely appear to graze the floor of deeper wounds. She isn’t attempting to excuse herself; she’s attempting to grasp herself, even when it means acknowledging her personal blind spots and contradictions.
Can solely drive on computerized
Make you shift the gears to land it
Burn out like your favorite candle
All the time been too scorching to deal with
Sorry for the best way I’m
I didn’t imply to close you down however
It’s been getting so rattling loud
I’m craving what I’m drowning out
You stated my setback’s costing you a lifetime
Habits from a previous life coming again round like
Circling a road gentle
Combating with a butterknife
Placing me on trial for my self pity crime
That self-awareness continues in moments like “Sorry for the best way I’m / I didn’t imply to close you down / However it’s been getting so rattling loud / I’m craving what I’m drowning out” – a surprising admission of overstimulation and emotional withdrawal, the place the need to attach is overwhelmed by the noise inside. Holt’s vocal supply right here is breathtaking, teetering on the sting of collapse earlier than bursting huge open.
“‘Butterknife’ was an actual breakthrough songwriting second for me,” she says. “It’s about grappling with feeling egocentric for pursuing what is usually a actually ego-driven artform at occasions and the pressure it places on relationships. Being a musician typically appears like a little bit of a ‘dying want,’ as a result of it’s actually an all-in, live-and-breathe kinda factor. I like what I accomplish that a lot, and it made me understand that the second you begin sharing music with the world and it’s not only for your self, you might have a job to play in not simply including to the noise, however doing one thing constructive with it.”
That duality – of noise and readability, ego and empathy – is the beating coronary heart of “Butterknife.” complete tommy doesn’t faux to have all of it discovered; as a substitute, she provides us the messy fact in its most trustworthy, unguarded type. The result’s intoxicating, entrancing, and unforgettable – a confessional anthem that hits like a storm, then leaves you sitting within the quiet, feeling just a bit extra seen.
Name me out I’m egocentric
Hanging off the sting of my very own dying want
Lock jaw, pores and skin crawl, heavy chest
Simply tryna catch my breath
Whenever you’re calling me out
’trigger I’m so egocentric
“Your Mother’s Home”
by Park Nationwide
Tright here’s a heartbreak that lives within the quietest locations – in backseat recollections, in fading t-shirts, within the nonetheless of a suburban morning once you’re unsure for those who’re awake or nonetheless contained in the dream. Achingly weak and deeply uncovered, “Your Mother’s Home” is a type of locations – a gut-wrenching glimpse into Park Nationwide’s interior world that churns and charms . It’s one of the weak and uncovered songs of his profession – unflinchingly trustworthy, stripped again, and emotionally naked: A young, aching confession wrapped in Midwest emo textures, the place each line cuts deeper than the final. It’s intimate, it’s uncooked, and it hits like a punch to the chest – not with brute power, however with honesty that lingers.
On the sprint of Grandma’s previous Corolla
A Radiohead CD
If there was one factor you taught me
It’s easy methods to disappear utterly
Just like the desires I had in highschool
Thought I’d be in your TV
We’ll see
‘Trigger I’m carrying all of my t-shirts
that I believed I outgrew
I didn’t assume I’d really feel so sorry
that issues ended like they did
I used to be only a child, caught in my very own shit
Wasted feelings
Thought I used to be above you
And simply ’trigger I can’t love myself
doesn’t imply I can’t love you
Liam Fagan, the Chicago-born artist behind Park Nationwide, has at all times had a present for turning emotional static into melody. On his sophomore LP You Have To Hold Looking, that reward has sharpened into one thing simple. “You Have To Hold Looking is an album of transformation,” Fagan shares.
“It primarily was created in my effort to seize these heightened moments of emotional readability, fleeting and intense, over an extended and definitive time in my life. It represents musically the place I’ve been, by means of sounds which have lengthy drawn me to the craft and bled by means of in my songs, whereas exploring new territory with my writing and recording. It’s probably the most bold selfmade document I’ve ever labored on and my first full-length vinyl launch. It’s been a dream come true to make and share these songs with folks.”
“Your Mother’s Home” is likely one of the album’s emotional centerpieces – a track constructed on coming-of-age regrets, self-awareness, and a sort of religious unraveling. Fagan’s lyrics bleed with sincerity and disgrace, with love that lingers even when it’s not returned. “I used to be only a child, caught in my very own shit / Wasted feelings / Thought I used to be above you,” he sings within the refrain, his voice breaking underneath the load of hindsight. “And simply ‘trigger I can’t love myself doesn’t imply I can’t love you.” It’s a fully devastating realization – one which turns self-loathing into one thing virtually noble. There’s no bravado right here, simply emotional reckoning laid naked.
The track drifts like a reminiscence, shifting by means of snapshots and sensory fragments: A Radiohead CD on the sprint, 7am drives previous previous homes, desires you may’t fairly keep in mind, however can’t shake both. The second verse lands like a flashback you didn’t ask for: “Can we decelerate? / We’re going twenty over on a residential road / We’re driving previous your mother’s home / And it’s 7 within the morning / And I get up in my bed room from some sort of f*ed up dream.” It’s all blurry, messy, too near residence.
Can we decelerate?
We’re going twenty over on a residential road
We’re driving previous your mother’s home
And it’s 7 within the morning
And I get up in my bed room
from some sort of f*ed up dream
Can I’m going again to sleep?
‘Trigger I’m carrying all of my t-shirts
that I believed I outgrew
I didn’t assume I’d really feel so sorry
that issues ended like they did
I used to be only a child, caught in my very own shit
Wasted feelings
Thought I used to be above you
And simply ’trigger I can’t love myself
doesn’t imply I can’t love you
By the bridge, Fagan is in movement – bodily, emotionally – attempting to go away all of it behind however understanding he’ll carry the imprint without end. “Now I’m driving with my recollections within the backseat / And I’m rolling down all of my home windows in try and air this out,” he sings, greedy for closure within the chilly air. “Simply because I hate myself doesn’t imply that I hate you.”
It’s not simply the phrases that damage – it’s the areas between them. Fagan doesn’t over-explain or overdramatize; as a substitute, he trusts the load of a line to do its work. The short beat of silence after “Can I’m going again to sleep?” hits as onerous as any refrain, whereas the repeated chorus “Simply ’trigger I can’t love myself doesn’t imply I can’t love you” feels much less like a lyric and extra like a revelation – one thing you whisper to your self when nobody else is listening. In these moments, “Your Mother’s Home” turns into greater than a reminiscence; it turns into a reckoning.
“Your Mother’s Home” doesn’t simply inform a narrative – it opens a wound. However in that rawness, there’s a sort of therapeutic. A sort of fact. A coming-of-age. A second of readability, fleeting and intense, similar to the album it comes from. And that’s Park Nationwide’s energy: He takes the emotions you buried years in the past and gently, fearlessly brings them to gentle.
However now I’m driving
with my recollections within the backseat
And I’m rolling down all of
my home windows in try and air this out
However I see it now
I can simply be robust
Neglect it and transfer on
with you within the rearview
And simply because I hate myself
doesn’t imply that I hate you
And simply ’trigger I can’t love myself
Simply ’trigger I can’t love myself
doesn’t imply I can’t love you
“Any person Else”
by Zzz.
Zzz. sings like his life depends upon it – and perhaps, in that second, it does. “Any person Else” is a full-body ache turned emo-pop anthem: visceral, risky, and loud in all the most effective methods. Constructed on crashing drums, surging guitars, and a fully gripping vocal efficiency, that is Zzz. at his boldest – spilling his guts in a approach that leaves us shocked and breathless. He holds the tip of every refrain line – “any individual ellsssee…” – with aching, unfiltered depth, stretching his voice till it shakes with feeling. After which the drums hit, pounding like a racing coronary heart, echoing each beat of longing and desperation.
I’m up within the mountains
and also you’re internationally
the place the golf equipment are the loudest
And I’m chasing my desires
tryna stroll on the clouds typically
I do know that sounds infantile
And I’m at all times frightened
you’ll discover any individual else…
So I hope
that I’m not any individual else
Lady I’m not any individual else (I’m not, I’m not)
I’m not any individual else (I’m not, I’m not)
Written with pop-punk legend John Feldmann (Blink-182, Avril Lavigne), “Any person Else” aches loudly and proudly in and out. Zzz. doesn’t maintain again as he navigates the friction between love and ambition: “I’m up within the mountains and also you’re internationally the place the golf equipment are the loudest / And I’m chasing my desires tryna stroll on the clouds – typically I do know that sounds infantile.” It’s confessional and conflicted, a burst of honesty wrapped in hooks that lower deep.
“‘Any person Else’ is a reminder to somebody that you simply love that irrespective of who else they seek for, that particular person won’t ever have the ability to love the identical approach you may,” Zzz. tells Atwood Journal. “It is a private expertise of mine that I consider connects with the world, which is precisely why I wrote this very track. It explains a real-life state of affairs of mine that different folks can join with. That is certainly one of my favourite songs, in addition to my first launch with certainly one of my favourite producers, John Feldman.”
I really feel such as you’re one thing
even at time once you
really feel such as you’re nothing
I really feel like I’m burning,
perhaps I miss you an excessive amount of,
perhaps I’m studying
And I’m at all times frightened you’ll discover any individual else
So I hope that I’m not any individual else
Lady I’m not any individual else (I’m not, I’m not)
I’m not any individual else (I’m not, I’m not)
What begins in concern ends in hearth. “Lady, I’m not any individual else,” Zzz. repeats like a mantra, a promise, a plea. His voice breaks, the guitars wail, and the entire thing collapses right into a remaining swell of emotion and noise. For all its sonic punch, this track is constructed on vulnerability – and in that vulnerability, Zzz. finds his energy. “Any person Else” isn’t only a breakup anthem or a late-night cry for reassurance; it’s the sound of an artist laying himself naked and daring you to really feel as a lot as he does.
Born Sam Zelaya in Gainesville and now based mostly in Miami, Zzz. has at all times made music from the guts – and “Any person Else” is him at his most uncooked, stressed, and actual.
“Gas for the Flame”
by Florentenes
It begins with a spark – a pair traces of lead guitar – and earlier than lengthy, you’re engulfed. Florentenes’ “Gas for the Flame” is a raging indie rock inferno: Blistering and breathless, explosive and all-consuming, it’s the sort of high-octane anthem that doesn’t simply demand consideration – it grabs you by the collar and roars. Frontman William Smith sings like a fireplace’s at his heels, his voice fierce and impassioned over an pressing beat, vicious riffs, and guitar solos that scream skyward. That is music made to be felt within the chest – loud, uncooked, and able to blow.
lets return the place we started,
you by no means saved slight of hand from me,
the visionary,
how come we fought then we danced,
then i’d simply sit when you pranced,
with him, not me,
it was so so so discretionary,
i don’t know you however i such as you,
thought to himself oh what a proper idiot,
you’d by no means guess what got here again to me,
i do know i’m secondary
you’re gonna come approach approach down
with a heavy load of sobriety within the morning
One of many oldest songs within the Manchester-based band’s catalogue, “Gas for the Flame” holds a particular place in Florentenes’ story – written by Smith when he was simply 16 as a technique to course of the emotional chaos of adolescence. “Easy phrases simply can’t fairly describe the melting pot of teenage feelings in the identical approach that music can,” he tells Atwood Journal. That depth bleeds into each second of the monitor, from its searing instrumental assaults to the palpable launch that comes with every impassioned line.
Florentenes explode within the refrain, turning inside turmoil right into a full-body eruption. “You’ll by no means know, and by no means go the place you wished to / Simply discover one other story to brew…” Smith belts, his voice practically cracking underneath the pressure. It’s a visceral cry of frustration and disillusionment, answered by pounding drums and hovering guitar traces that churn and burn with righteous abandon. “It comes and goes, simply keep composed / So cease this practice, or really feel ashamed / My life’s your solely declare – ’trigger you’re simply gasoline for the flame.” It’s an exciting second of readability and catharsis, when the storm inside lastly breaks free.
you’ll by no means know, and by no means go
the place you wished to,
simply discover one other story to brew,
i really feel it go, and really feel it movement,
by means of blood and bones,
it comes and goes, simply keep composed,
so cease this practice, or really feel ashamed,
my life’s your solely declare,
trigger youre simply gasoline for the flame
There’s one thing particularly arresting about how unfiltered this track feels – like a strain valve launched at simply the precise second. You possibly can virtually hear the historical past baked into it: the dorm room demos, the shout-it-til-you-mean-it gigs in sweaty Northern venues, the best way the band have grown round it with out sanding down its edges.
Made up of William Smith (vocals, songwriting), Luke Holding (lead guitar), Harry Stubbs (bass), and Liam Fiddy (drums), Florentenes have carved out their identify throughout the UK by means of electrifying reside units and a fiery sonic mix that’s equal elements allure, idea, and grit. Their second EP HOMEGROWN captures the total spectrum of their sound – and “Gas for the Flame” stands tall as its emotional ignition level. This isn’t simply one of many first songs they wrote; it’s one of many truest expressions of who they’re.
Name it an anthem. Name it a launch. Both approach, “Gas for the Flame” is the sort of monitor that reminds you why we flip to music within the first place: To scream after we can’t converse. To burn off what we’ve buried. To really feel every part, .
i don’t know you however i such as you,
thought to himself oh what a proper idiot,
you’d by no means guess what got here again to me,
i do know i’m secondary
youre gonna come approach approach down
with a heavy load of sobriety within the morning
you’ll by no means know, and by no means go
the place you wished to,
simply discover one other story to brew,
i really feel it go, and really feel it movement,
by means of blood and bones,
it comes and goes, simply keep composed,
so cease this practice, or really feel ashamed,
my life’s your solely declare,
trigger youre simply gasoline for the flame
“drains”
by mary within the junkyard
Slipping down the drain by no means sounded so intimate – or so alive. mary within the junkyard’s newest single is a fragile, ferocious fever dream: A tough-hitting various outpouring constructed on hypnotic guitars, primal rhythms, and Clari Freeman-Taylor’s effervescent, emotionally searing voice. She sings scorching on the mic in a sort of spellbound state – each breath quivering, each line teetering between confessional and cathartic. “drains” is intense. It’s uncooked. It’s rugged. It’s every part that makes mary within the junkyard one of many UK’s most enjoyable bands proper now – a title they proceed to earn, not chase.
I’ve been trying throughout for you
In the entire drains of town
I’ve been in search of phrases to explain you
I don’t even know what you might be to me
You’re a vivid gentle,
a white noise, an extended hall
A pink moth in my room flying at my head
A smart girl on the bar crying, quiet
A mild riot
Launched as their first single of the yr, “drains” finds the London-based trio of Freeman-Taylor (vocals, guitar), Saya Barbaglia (bass, viola), and David Addison (drums) digging deep – actually and figuratively. “I’m curious in regards to the bowels of town,” Freeman-Taylor tells Atwood Journal. “The entire rain and the waste in London goes into mysterious sources, we now have an exquisite array of pipes and underground networks under our toes! You get rained on and it disappears by means of the bottom, we by no means see our piss and shit and garbage ever once more which is superb! We don’t see what’s under however there are numerous pipes and caves, and my pal as soon as stated, ‘When you bury your self, I’ll dig you out once more.’ I wished to immortalize it as a result of it made me really feel so heat.” That evocative phrase turns into the track’s haunting, heartfelt bridge – a second of promise wrapped in anguish, vulnerability, and unconditional love: “When you bury your self, I’ll dig you out once more / That’s what lovers do.”
Directly visceral and poetic, “drains” captures the overwhelming flood of metropolis life and the quiet ache of eager for connection. “This track is probably the most comparable lyrically to our first track ‘Tuesday,’” Freeman-Taylor explains, “as a result of it was written at an analogous time, once I had simply moved to London and was fairly affronted with the tempo of life – attempting to remain afloat in an unlimited ocean of individuals. You discover your approach by some means and it’s great to be a part of. However it may be draining – perhaps our power falls out of us and goes down the entire pipes too.”
However I solely got here right here to really feel my physique
I’m a ghost, the place are my bones?
How will you blame me for not being sorry?
My birthday card acquired misplaced within the submit
And it’s a vivid gentle, a white noise, an extended hall
A pink moth in my room flying at my head
A smart girl on the bar crying, quiet
A mild riot
There’s an virtually sacred weight to the imagery she conjures: “You’re a vivid gentle, a white noise, an extended hall / A pink moth in my room flying at my head / A smart girl on the bar crying, quiet / A mild riot.” It’s cryptic and kaleidoscopic – half love letter, half id disaster, half existential scream.
“A variety of the lyrics are addressed to a mysterious and hidden somebody – it’s, I take into consideration the seek for reference to others,” Freeman-Taylor muses. “We will cross one another by so quick someday that actual friendship is so so valuable. I actually worth my conversations with folks I like, and that may be onerous to seek out good associates particularly at first once you transfer someplace. A lot like to the kindred spirits.”
And sure, there’s a scream – an actual, guttural one – ready on the finish of the monitor. “I feel it’s fairly a cathartic rocky tune,” Freeman-Taylor says. “I hope folks discover it cathartic and enjoyable and groovy and benefit from the scream on the finish.”
However for those who bury your self, I’ll dig you out once more
That’s what lovers do
When you damage your self, I’ll take you underneath my wing
I’m your lover and I’m loving you
When you bury your self, I’ll dig you out once more
That’s what lovers do
When you damage your self, I’ll take you underneath my wing
I’m your lover and I’m loving you
I’m your lover and I’m…
mary within the junkyard proceed to defy straightforward categorization, embracing contradiction and curiosity as core tenets of their artistry. “I feel all of us are actually interested by a lot music,” she displays. “We’ve got the rock trio setup normally, however we like to play lots of totally different genres. I feel that’s actually going to return by means of on our album. Saya and I come from classical string musician backgrounds, however we actually additionally love digital music. On our upcoming EP, we’ve acquired a viola/cello/very sparse drums monitor in regards to the River Thames. I’d name our sound ‘playful and scratchy and emotional’ or ‘doing no matter we really feel like on the time.’”
That freedom – so unapologetic and unfiltered – is a part of what makes “drains” hit so onerous – not simply sonically, however spiritually. It’s a track about being misplaced and being discovered. About sinking and surviving. About friendship, meals, metropolis pipes, and the quiet rituals of care that tether us to one another. It’s messy and human and totally magnetic. Come for the chaos; keep for the scream.
Tryna keep effectively fed nevertheless it’s exhausting
When nothing I do is from feeling
I really feel like this each weekend
However I’ll recover from it, I’ll recover from it
I’m tryna keep effectively fed
however I’ve been slipping down the drain
And I’m speaking to you now
however I don’t really feel sane
I really feel like this day by day
However I’ll recover from it, I’ll
aaarrrtggggghhhh
Tright here’s a degree once you cease chasing the group and begin seeing clearly – not simply who’s round you, however who’s actually there. “Vultures” hits that second like a lightning strike to the chest. Manchester’s DR DR ship a fiery reckoning by means of searing guitars, pounding drums, and frontman Fred Farrell’s unrelenting vocal howl – a mixture of rage, launch, and radiant self-ownership. It’s the sort of track that scorches and soothes without delay, heavy with ache however alive with goal.
Name off the canines
I’ve been working for days
And I can’t maintain this up
You killed me as soon as
Why kill me twice
Oblivion…
The place have been you when
the partitions have been falling down
And the lights
Have been going out
All this sweet time
We’re losing
A standout off the band’s new VULTURES EP, “Vultures” channels interior turmoil into uncooked, unfiltered sound. Farrell wrote the monitor within the aftermath of a private low level – a time when his world collapsed and people he thought have been associates vanished into the shadows.
“The track is reflection on a really troublesome time in my life,” he tells Atwood Journal. “The realisation that you simply don’t have as many associates as you thought is a really unhappy feeling. Realizing you wasted time and power on the incorrect folks – all this candy time we’re losing. After battling with psychological well being issues for a very long time, I began to note that lots of ‘associates’ have been solely there for me within the good occasions and once they wanted one thing. These ‘associates’ would take and take, however once I was damaged, most in want of assist, ‘the place have been you when the vultures got here round?’
That line, delivered in a storm of lead guitar wails, rings out like a shot to the chest. “The place have been you when the vultures got here round?” Farrell cries within the refrain, his voice teetering between accusation and devastation. “I used to be laying on the bottom / All this candy time we’re losing.” That repeated chorus is each a lament and a intestine punch – the readability that comes when the mud settles and also you’re left counting the price of misplaced belief.
“The track is changing into comfy with what you might have,” Farrell explains. “It’s being content material along with your circumstances. We might not be wealthy (but), and we could every have a handful of shut associates, however we’re at a degree in our lives the place that’s what’s most essential to us – the individuals who care about us, not the concept of who we might be.”
There’s energy in that shift – in letting go of the efficiency and embracing the actual. For DR DR, “Vultures” is greater than catharsis; it’s a reclamation of id and intention. “Enjoying this track collectively makes us really feel attractive and highly effective,” Farrell says. “We personal who we’re, and we all know who we wish to proceed to be irrespective of the place this journey takes us. We’re in it collectively.”
Hovering and scorched, “Vultures” doesn’t flinch from the darkish – it roars by means of it. DR DR have delivered a second of explosive, heavy various rock that hits onerous and leaves a long-lasting scar. It’s charged, it’s churning, it’s vicious, and it’s weak. They aren’t right here to play good – they’re right here to burn down the phantasm and stroll out of the wreckage with their heads held excessive.
DR DR have screamed their fact, scorched the silence, and now emerge stronger. “Vultures” is their battle cry.
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