“Streets of Minneapolis": Bruce Springsteen Pens a Song for a Dark Moment in American History
Atwood Magazine
January 30, 2026
Geese: Getting Killed Never Sounded So Good
Atwood Magazine
April 25, 2025
From Atwood Magazine's Celebrating Black Art & Artistry:
“Isis and Osiris,” the final track on Alice Coltrane’s Journey in Satchidananda, stands apart as the only live recording on the album. It unfolds as a 11 minutes of impressionistic raga jazz that reaches past conventional form into a divine plane, textured by sliding glissandis and droning bass. Somewhere between the East and West, Coltrane shaped a musical realm entirely her own in the male-dominated space of late ’60s and early ’70s jazz. She was many things — a pianist, harpist, wife, mother, and swamini — and each identity shaped her into an artist who didn’t push against cultural barriers so much as render them weightless.
— Anu Sarode, February 2025
Nostalgia Tracks: 24 Years Later, Why Mississippi is Still Bob Dylan's Best Song
Atwood Magazine
September 30, 2025
From Atwood Magazine's Top Artist Discoveries of 2025:
Cameron Winter’s froggy baritone popped up everywhere this year: Kimmel, a bridge, Nigel Godrich’s de-fossilized basement, Apple and (allegedly) Xbox commercials, Nick Cave’s blog, hunched over a piano in Carnegie Hall. On paper, his curriculum vitae is absolutely Quixotic for a 23-year-old. He is probably our generation’s emerging Great Artist.
On tour for his album Heavy Metal, he’s been playing churches with nothing but the full armor of God and a Steinway, which is a setup that I think is decidedly not a gimmick. Winter’s songs demonstrate sincere respect for the singer/songwriter tradition, and don’t hold any trace of false aesthetic machinations. This combination is rather rare nowadays, but Winter delivers it to us with unlikely and boyish ministering hands. His writing is unruly and feels transgressive in how naked it is – life is a boot to the teeth and a gold coin in the sand. He sublimates the divinity, stupidity, humanity of being a person into song. It’s a return to a state of nature for music.
— Anu Sarode, December 2025
On "Speed Freak," Youth Lagoon Shows He's Not Slowing Down Anytime Soon
Atwood Magazine
April 25, 2025
“It's a loving goodbye”: Box Blonde Turns Heartbreak into High Art on “I Watch You Watch Her”
Atwood Magazine
November 7, 2025
“Streets of Minneapolis": Bruce Springsteen Pens a Song for a Dark Moment in American History
Atwood Magazine
January 30, 2026
From Atwood Magazine's Celebrating Black Art & Artistry:
“Isis and Osiris,” the final track on Alice Coltrane’s Journey in Satchidananda, stands apart as the only live recording on the album. It unfolds as a 11 minutes of impressionistic raga jazz that reaches past conventional form into a divine plane, textured by sliding glissandis and droning bass. Somewhere between the East and West, Coltrane shaped a musical realm entirely her own in the male-dominated space of late ’60s and early ’70s jazz. She was many things — a pianist, harpist, wife, mother, and swamini — and each identity shaped her into an artist who didn’t push against cultural barriers so much as render them weightless.
— Anu Sarode, February 2025
Nostalgia Tracks: 24 Years Later, Why Mississippi is Still Bob Dylan's Best Song
Atwood Magazine
September 30, 2025
Atwood Magazine
September 30, 2025
From Atwood Magazine's Top Artist Discoveries of 2025:
Cameron Winter’s froggy baritone popped up everywhere this year: Kimmel, a bridge, Nigel Godrich’s de-fossilized basement, Apple and (allegedly) Xbox commercials, Nick Cave’s blog, hunched over a piano in Carnegie Hall. On paper, his curriculum vitae is absolutely Quixotic for a 23-year-old. He is probably our generation’s emerging Great Artist.
On tour for his album Heavy Metal, he’s been playing churches with nothing but the full armor of God and a Steinway, which is a setup that I think is decidedly not a gimmick. Winter’s songs demonstrate sincere respect for the singer/songwriter tradition, and don’t hold any trace of false aesthetic machinations. This combination is rather rare nowadays, but Winter delivers it to us with unlikely and boyish ministering hands. His writing is unruly and feels transgressive in how naked it is – life is a boot to the teeth and a gold coin in the sand. He sublimates the divinity, stupidity, humanity of being a person into song. It’s a return to a state of nature for music.
— Anu Sarode, December 2025
On "Speed Freak," Youth Lagoon Shows He's Not Slowing Down Anytime Soon
Atwood Magazine
April 25, 2025
“It's a loving goodbye”: Box Blonde Turns Heartbreak into High Art on “I Watch You Watch Her”
Atwood Magazine
November 7, 2025
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contact me at sarodeanu99@gmail.com contact me at sarodeanu99@gmail.com contact me at sarodeanu99@gmail.com
contact me at sarodeanu99@gmail.com contact me at sarodeanu99@gmail.com contact me at sarodeanu99@gmail.com
“Streets of Minneapolis": Bruce Springsteen Pens a Song for a Dark Moment in American History
Atwood Magazine
January 30, 2026
Geese: Getting Killed Never Sounded So Good
Atwood Magazine
April 25, 2025
From Atwood Magazine's Celebrating Black Art & Artistry:
“Isis and Osiris,” the final track on Alice Coltrane’s Journey in Satchidananda, stands apart as the only live recording on the album. It unfolds as a 11 minutes of impressionistic raga jazz that reaches past conventional form into a divine plane, textured by sliding glissandis and droning bass. Somewhere between the East and West, Coltrane shaped a musical realm entirely her own in the male-dominated space of late ’60s and early ’70s jazz. She was many things — a pianist, harpist, wife, mother, and swamini — and each identity shaped her into an artist who didn’t push against cultural barriers so much as render them weightless.
— Anu Sarode, February 2025
Nostalgia Tracks: 24 Years Later, Why Mississippi is Still Bob Dylan's Best Song
Atwood Magazine
September 30, 2025
From Atwood Magazine's Top Artist Discoveries of 2025:
Cameron Winter’s froggy baritone popped up everywhere this year: Kimmel, a bridge, Nigel Godrich’s de-fossilized basement, Apple and (allegedly) Xbox commercials, Nick Cave’s blog, hunched over a piano in Carnegie Hall. On paper, his curriculum vitae is absolutely Quixotic for a 23-year-old. He is probably our generation’s emerging Great Artist.
On tour for his album Heavy Metal, he’s been playing churches with nothing but the full armor of God and a Steinway, which is a setup that I think is decidedly not a gimmick. Winter’s songs demonstrate sincere respect for the singer/songwriter tradition, and don’t hold any trace of false aesthetic machinations. This combination is rather rare nowadays, but Winter delivers it to us with unlikely and boyish ministering hands. His writing is unruly and feels transgressive in how naked it is – life is a boot to the teeth and a gold coin in the sand. He sublimates the divinity, stupidity, humanity of being a person into song. It’s a return to a state of nature for music.
— Anu Sarode, December 2025
On "Speed Freak," Youth Lagoon Shows He's Not Slowing Down Anytime Soon
Atwood Magazine
April 25, 2025
“It's a loving goodbye”: Box Blonde Turns Heartbreak into High Art on “I Watch You Watch Her”
Atwood Magazine
November 7, 2025
“Streets of Minneapolis": Bruce Springsteen Pens a Song for a Dark Moment in American History
Atwood Magazine
January 30, 2026
Geese: Getting Killed Never Sounded So Good
Atwood Magazine
April 25, 2025
From Atwood Magazine's Celebrating Black Art & Artistry:
“Isis and Osiris,” the final track on Alice Coltrane’s Journey in Satchidananda, stands apart as the only live recording on the album. It unfolds as a 11 minutes of impressionistic raga jazz that reaches past conventional form into a divine plane, textured by sliding glissandis and droning bass. Somewhere between the East and West, Coltrane shaped a musical realm entirely her own in the male-dominated space of late ’60s and early ’70s jazz. She was many things — a pianist, harpist, wife, mother, and swamini — and each identity shaped her into an artist who didn’t push against cultural barriers so much as render them weightless.
— Anu Sarode, February 2025
Nostalgia Tracks: 24 Years Later, Why Mississippi is Still Bob Dylan's Best Song
Atwood Magazine
September 30, 2025
Atwood Magazine
September 30, 2025
From Atwood Magazine's Top Artist Discoveries of 2025:
Cameron Winter’s froggy baritone popped up everywhere this year: Kimmel, a bridge, Nigel Godrich’s de-fossilized basement, Apple and (allegedly) Xbox commercials, Nick Cave’s blog, hunched over a piano in Carnegie Hall. On paper, his curriculum vitae is absolutely Quixotic for a 23-year-old. He is probably our generation’s emerging Great Artist.
On tour for his album Heavy Metal, he’s been playing churches with nothing but the full armor of God and a Steinway, which is a setup that I think is decidedly not a gimmick. Winter’s songs demonstrate sincere respect for the singer/songwriter tradition, and don’t hold any trace of false aesthetic machinations. This combination is rather rare nowadays, but Winter delivers it to us with unlikely and boyish ministering hands. His writing is unruly and feels transgressive in how naked it is – life is a boot to the teeth and a gold coin in the sand. He sublimates the divinity, stupidity, humanity of being a person into song. It’s a return to a state of nature for music.
— Anu Sarode, December 2025
On "Speed Freak," Youth Lagoon Shows He's Not Slowing Down Anytime Soon
Atwood Magazine
April 25, 2025
“It's a loving goodbye”: Box Blonde Turns Heartbreak into High Art on “I Watch You Watch Her”
Atwood Magazine
November 7, 2025
contact me at sarodeanu99@gmail.com contact me at sarodeanu99@gmail.com contact me at sarodeanu99@gmail.com
contact me at sarodeanu99@gmail.com contact me at sarodeanu99@gmail.com contact me at sarodeanu99@gmail.com