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 group of songs, albums, and artists who’ve caught his ears, eyes, and coronary heart. There’s a lot unimaginable 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 our Editor’s Picks, we hope to shine a light-weight on our personal music discoveries and showcase a various array of latest and up to date releases.
This week’s Editor’s Picks options Bon Iver, Japanese Breakfast, Samia, Michael Marcagi, spill tab, and Djo!
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Bon Iver’s music has all the time had soul, however by no means fairly like this. With SABLE, fABLE, Justin Vernon and firm channel love, therapeutic, and human connection right into a radiant, revelatory, and radical reinvention. Steeped in heat and non secular renewal, the band’s fifth studio album is a soulful, hopeful, and heartfelt odyssey – a luminous tapestry of intentionality, candy sound, uncooked intimacy, and fearless, boundary-pushing sonic exploration. Achingly tender and breathtakingly lovely in and out, SABLE, fABLE marks a definite, dramatic rebirth for the Bon Iver venture, now in its 19th 12 months. Without delay intimate and expansive, it displays on the place we’ve been and imagines the place we’d go, bathed in golden mild.
I can see the place you’re coming from
I bought time, I may give you some
I simply like it if you name me “Child”
Although it’s taking place much less currently
I can match
I can match all of it
Nothing’s actually incorrect so
Any more
The songs of SABLE, fABLE really feel much less like compositions and extra like choices — vivid expressions of presence, compassion, identification, and catharsis that radiate with light grace and emotional immediacy. A mantra of aware existence wrapped in glowing harmonies, “the whole lot is peaceable love” shimmers with quiet pleasure and soft-spoken gratitude, whereas “there’s a rhythmn” pulses with kinetic vitality and an undercurrent of awe, balancing intimacy and abstraction in traditional Bon Iver style. “day one,” a collaboration with Dijon and Flock of Dimes, swells with surprise and renewal, its swirling textures and expansive melodies evoking the very feeling of a contemporary begin.
Don’t let it hassle your thoughts
Simply take my love in your time
No must hurry
Give me your fear
We are able to simply preserve it right here for now
But when there’s one track that feels just like the album’s emotional core, it’s “from” – a quiet masterclass in empathy that leans into love not as spectacle, however as regular presence. A wide ranging collaboration between Vernon, mk.gee, Jacob Collier, Tobias Jesso Jr., and others, “from” elevates Bon Iver’s sound into new emotional terrain as Vernon delivers a soul-stirring meditation on perspective, gratitude, and self-worth formed via love. “I can see the place you’re coming from / I bought time, I may give you some,” he sings over mk.gee’s distinctive guitar tones, his uncooked voice a beacon of unfiltered honesty and care. There’s no rush, no strain – simply house, softness, and belief. “Don’t let it hassle your thoughts / Simply take my love in your time,” he croons, backed by a refrain of spellbinding harmonies, providing consolation with out situation. mk.gee’s signature textures mix seamlessly into Bon Iver’s sonic world, including rhythmic nuance and atmospheric depth to a monitor that appears like a wealthy, heat exhale. “from” doesn’t simply converse to like — it embodies it, in all its endurance, presence, and quiet grace.
Once I referred to as you from the lodge
You mentioned you had been doing effectively
However I may inform
Simply final Might there was confetti within the automotive
And now, it appears we’re far aside
However I’m prepared
Don’t you are feeling me?
Don’t you are feeling compelled?
Oh, you now can simply be your self
Any more
On this musical second of stillness and give up, Bon Iver remind us that love – actual, grounding, transformative love – could be each compass and remedy. “from” could also be one monitor amongst many, nevertheless it captures the soul of SABLE, fABLE in its purest kind: Affected person, beneficiant, and deeply human. Because the album weaves via meditations on presence, perspective, and emotional renewal, this track stands out as a quiet, shimmering reminder of how far slightly softness can go. It’s the type of track that etches itself into your coronary heart and stays there, not simply as a favourite from the album, however as certainly one of Bon Iver’s most timeless and tender choices. For me, it already appears like perpetually.
Don’t let it hassle your thoughts
Simply take my love in your time
I’m prepared, run from worry
I’m from someplace removed from right here
So inform me when the coast is evident
Wanna kiss you ear from ear
Can I take one other 12 months?
Should I be so rattling extreme?
From the valley to the pier
I’m beset with what we may develop into
Inform me you prepared
I can see the place you’re coming from
I’m holding regular
We are able to simply preserve it right here for now
“Image Window”
by Japanese Breakfast
Tright here’s a quiet, comforting devastation to Japanese Breakfast’s dreamy “Image Window,” a track that feels prefer it’s continually exhaling grief and gathering it again in once more. It’s light, celestial, and achingly current – an ambient meditation on reminiscence and loss, wrapped in a softly seductive haze of synths and spectral harmonies. The monitor finds singer/songwriter Michelle Zauner reckoning along with her personal inside demons as she lives her life along with somebody much less weighed down by those self same worries and fears; in distinction to her accomplice’s lightness, she carries the load of what’s been misplaced – and that dichotomy brings its personal emotional terrain to navigate.
My child loves a port city
And a shuffle
Solely cries on Ferris wheels
This child’s on the verge of
If she misplaced him, would most actually be dedicated
Are you not afraid of each waking minute
That your life may move you by?
But it’s the refrain that lands with breathtaking weight:
“However all of my ghosts are actual… All of my ghosts are my residence.”
In a single line, Zauner captures the haunting familiarity of ache – the best way sorrow can settle into us, not as one thing to conquer, however one thing to stay with. It’s not only a lyric; it’s a worldview; one which doesn’t flinch from the presence of grief, however folds it into the self. Heard casually, “Image Window” may float by as merely upbeat, melodic, and heat – however linger a second, and the ache units in. That visceral repetition of “my ghosts” turns into each confession and acceptance: a recognition that the previous, regardless of how heavy, is a part of who we’re.
Coronary heart breaking like a punch card
Retains his mouth shut
Retains his thoughts mounted and effectively hidden
You dream sufficient for 2, pricey
Image window
Searching at elsewhere
“Since I used to be younger, I’ve struggled with intrusive ideas of family members dying in horrible methods,” Zauner shared earlier this month. “My thoughts jumps to the worst-case situation, a reflex solely intensified by actual experiences with loss. Loving somebody who doesn’t share that very same sense of fear could be each a reduction and a problem.”
“Image Window” doesn’t seek for decision – it merely lets us sit inside the sensation. It’s a track about wanting outward via glass whereas nonetheless being tethered to the whole lot that lives inside. And in that rigidity, Japanese Breakfast affords certainly one of their most quietly profound statements to this point – a glowing centerpiece on her newest album, For Melancholy Brunettes (& unhappy girls), the place grief, reminiscence, and love coalesce in delicate, beautiful concord.
Do you not conceive of my dying at each minute
Whereas your life simply passes you by?
However all of my ghosts are actual
All of my ghosts are actual
All of my ghosts are my residence
All of my ghosts are actual
All of my ghosts are actual
All of my ghosts are my residence
“Gap in a Body”
by Samia
“A little dying goes a great distance.” Samia delivers the road with such disarming straightforwardness, you may not assume too deeply about it. However you do – she makes certain of that, her voice deliberately lingering on each phrase simply lengthy sufficient for its full weight to choose the soul. On “Gap in a Body,” one of the crucial stirring and surreal songs off her upcoming sophomore album Cold, this lyric acts as each emotional thesis and existential mantra – a recognition of how even the smallest losses, slips, or ego deaths can ripple via our lives with outsized drive.
Nothing goes the way it was gonna
You miss the boat, you gotta swim
However I don’t should let you know that
Tulsa, Oklahoma, gap in a body
Sid was vicious
And the drywall cracked
Like an autograph
That endlessly appreciates
Just a little dying goes a great distance
What does it imply, to expertise “slightly dying”? In French, la petite mort is commonly a euphemism (go look it up), however in Samia’s world, the phrase carries a special type of weight. It evokes the numerous tiny disappearances we endure – of selves, of illusions, of certainties. The dying of a model of you that now not matches. The quiet ending of one thing unstated. A realization that adjustments the course with out asserting itself.
“‘Gap in a Body’ is a couple of fascination with disappearing and the facility of absence,” Samia shared. There’s consolation in vacancy right here—not a void, however a type of clearing. An invite to step out of focus, to un-be for a second. She’s not lamenting these vanishings a lot as learning them, perhaps even discovering refuge inside them. That line – repeated like some sacred textual content by the tip – transforms from lament to liberation.
There I’m the place I shouldn’t be
Clearly, I purchased the ticket
and took the experience
Pissing within the wind and
Attempting to avoid your
line of imaginative and prescient from stage proper
Like {a photograph}
Of the final time I got here
Just a little dying goes a great distance
The track itself drifts like a reminiscence, all delicate corners and elliptical phrasing. From Tulsa, Oklahoma to cracked drywall and stage proper, Samia builds a collage of photos that sparkle and fade like overexposed movie. There’s no narrative, simply snapshots: Fractured, lovely, and half-submerged. Just like the “gap in a body” she references, we’re left to take a seat with what’s lacking.
In the long run, “Gap in a Body” doesn’t give solutions – it leans into absence. And in doing so, Samia captures one thing that feels oddly hopeful: That there’s power in slipping away, peace in being momentarily undefined. Just a little dying goes a great distance – and perhaps that’s the purpose.
It’s raining, I’m straying from the border
You understand what they are saying
concerning the child and the coroner
Possibly I used to be born for this
Dying to myself
When you maintain the onus
Will you maintain the onus?
Just a little dying goes a protracted
Just a little dying goes a protracted
Just a little dying goes a protracted
Just a little dying goes a great distance
“Midwest Child”
by Michael Marcagi
“Midwest Child” is an anthem, a homecoming, a reckoning — however greater than something, it’s a reclamation. Michael Marcagi’s first single of the 12 months and the title monitor off his model new EP (out at the moment through Warner Data), “Midwest Child” is the type of track that wears its coronary heart — and its hometown — on its sleeve. It’s not only for these raised amongst cornfields, rust-belt cities, or large sky plains; it’s for anybody who’s carried a bit of their previous into the current. Anybody who’s ever longed for easier occasions, for entrance yards and childhood laughter, for one thing that felt like security — even when it by no means really was.
I wanna get misplaced within the ocean
The place nobody is aware of my identify
And all of my confusion
Can wash out in a wave
I wanna return to my entrance yard
Simply laughing like a toddler
The solar over my heat pores and skin
Haven’t felt that for some time, for some time
“It’s concerning the place I used to be born, raised, and nonetheless name residence,” the Cincinnati, Ohio native explains. “It’s about beginning this loopy new chapter of my life whereas navigating and sustaining the relationships I’ve with family and friends in my hometown. I’m very happy with the place I’m from, and I hope to hold that with me perpetually.”
There’s a rawness to “Midwest Child” — emotionally and sonically. Over driving guitar strums and a gradual beat, Marcagi blends nostalgia with vulnerability, singing of sleepless nights, buried secrets and techniques, and the ache of not being believed. “I’m simply one other damaged, messed-up Midwest child,” he repeats within the monitor’s charged chorus, turning a second of self-doubt into an immediately memorable rallying cry. The lyric hits like a confession, nevertheless it additionally appears like solidarity — an acknowledgment that brokenness and pleasure can coexist. That residence can each wound you and be your anchor.
And all my fears
I can’t let go
And I’ve been holding on
For method too lengthy
And also you don’t imagine me
You by no means did
I’m simply one other damaged
tousled midwest child
“I wanna return to my entrance yard, simply laughing like a toddler,” he sings, reaching for one thing simply out of attain. And isn’t that the center of it? The craving to be seen. To return. To maneuver ahead with out letting go of the place you got here from.
“Midwest Child” is a track of place, sure — but additionally of personhood. It’s a reminder that identification is messy and delightful and stuffed with ghosts we study to stay with. Marcagi doesn’t faux to have all of it found out. He simply sings the reality as he is aware of it — and in doing so, he offers the remainder of us one thing to carry on to, too.
And all of the nights that I couldn’t sleep
The secrets and techniques that I couldn’t preserve
All of it comes dashing again to me
I can’t escape even in my desires
Oh and all of the nights that I couldn’t sleep
The secrets and techniques that I couldn’t preserve
All of it comes dashing again to me,
all of it comes dashing again
And all my fears
I can’t let go
And I’ve been holding on
For method too lengthy
And also you don’t imagine me
You by no means did
I’m simply one other damaged tousled midwest child
Achingly intimate, unapologetically different, and soaked in seductive emotional static, “Angie” is a hypnotic, psychedelic fever dream. The title monitor off spill tab’s long-awaited debut album doesn’t ask for our consideration; it pulls us below, wrapping our ears – and by extension, our souls – in waves of overdriven guitar, hazy synth, ethereal falsetto, and feverish, unfiltered emotion. It’s uncooked and churning, delicate and harmful — a delicate, shiver-inducing scream into the void, with melodies that sparkle like hallucinations simply out of attain.
I’ve you lined up, up, up
Angie, you’re on my thoughts
(Ooh, oh-oh-ooh, ooh)
I hate you, I don’t, don’t, don’t
Angie, she’s on my thoughts
“I’ve you lined up, up, up / Angie, you’re on my thoughts,” spill tab – aka LA-based French-Korean singer, songwriter, and producer Claire Chicha – sings, her voice barely clinging to the chaos that surrounds it. There’s vulnerability right here, but additionally volatility – a push-pull of want and detachment that unravels over ghostly harmonies and fuzzed-out textures. It’s a track of obsession, frustration, and fractured identification, the place longing and loathing collide in a single breath: “I hate you, I don’t, don’t, don’t…”
The track’s dreamlike depth mirrors the story of its creation. “‘Angie’ was began on the prime of 2023… I used to be in a bizarre place on the time,” spill tab shares. “I wasn’t feeling impressed… I used to be simply actually struggling to put in writing typically.” However surrounded by collaborators John Hill and Jared Solomon (aka solomonophonic), one thing shifted. “I picked up this lovely nylon within the nook and simply began tuning it to no matter method sounded good to me, and the preliminary chords of ‘Angie’ got here out. It was referred to as ‘BostonNova’ till it wasn’t, and I simply knew I beloved it from day one.”
That spontaneity, that intuitive spark, pulses via the ultimate monitor. “Angie” appears like a track pulled from the unconscious – pieced collectively from intrusive ideas, flickering recollections, and unstated fears. It performs with absence as a lot as presence; it’s music that haunts greater than it resolves.
Huge occasions
However this time I’ll let you know something
Make a idiot of me tonight
Beholden by want
Darling, your identify (Ooh-ooh)
Performs on (Performs on)
The again mind (Oh-oh, oh-ooh)
I’ve you lined up, up, up
Angie, you’re on my thoughts
(Ooh, oh-oh-ooh, ooh)
I hate you, I don’t, don’t, don’t
Angie, she’s on my thoughts
Is it a love track? Is it an ode to intoxication? Is it a confessional – an act of unbridled catharsis? Maybe it’s easy heat-of-the-moment abstraction, or perhaps it’s actually all the above. As a centerpiece of ANGIE, the track embodies the album’s emotional core. “I like this assortment of songs so deeply. They really feel extra sincere than something I’ve created in a very long time,” spill tab says of the document. “It’s actually particular to listen to all these experiences on love and loss, rejection and keenness, strolling away and holding on too tight, all coexisting collectively in a single place: A fruits of those previous few years of my life.”
And that’s what “Angie” turns into: Not only a track, however an area the place contradiction lives snug – fragile and livid, lucid and misplaced, painfully current even because it fades. “Angie” is each a weight placed on and a weight lifted — a lush, intensely immersive second of churn and attraction we’ll preserve returning to, lengthy after the music’s gone.
I’ve you lined up, up, up
Angie, you’re on my thoughts
(Ooh, oh-oh-ooh, ooh)
I hate you, I don’t, don’t, don’t
Angie, she’s on my thoughts
Djo’s “Potion” is delicate magic — a delicate daydream of longing, love, and quiet hope. A standout monitor off The Crux, Joe Keery’s third album below his musical moniker Djo, “Potion” floats in like a breeze via an open window: heat, wistful, and splendidly unusual. Its straightforward, lulling rhythm feels virtually deceptively easy, however beneath the floor is a world of surprise and craving.
Once I get up at 3 within the morning
Witching hour too robust
Like a witch, I do know I want my potion
I, I, I would discover love
I’m in search of it in an alphabet soup cup
I’m wanting below my thumb
It’s wanting like slightly rain cloud loves me
I, I, I…
Anchored by lilting acoustic guitars, delicate percussion, and Keery’s tender falsetto, “Potion” trades the frenetic, technicolor swirl of earlier singles like “Primary Being Primary” and “Delete Ya” for one thing extra intimate, extra weak, extra stripped-down – extra human. It’s Laurel Canyon by means of dream-pop; delicate and stripped-down, but quietly revelatory. “‘Potion’ is like your favourite pair of blue denims,” Keery shares. “I’d been engaged on Travis choosing after I wrote this track, so it’s type of like if Harry Nilsson and Lindsey Buckingham had a child.”
Lyrically, “Potion” swims in candy surrealism and sentimentality: “I’m in search of it in an alphabet soup cup / I’m wanting below my thumb…” There’s humor within the metaphor, however a heavy coronary heart behind it — a soul looking out the on a regular basis for one thing extraordinary. For connection. For somebody who’ll keep.
The refrain, feather-light and hauntingly lovely, is the place the monitor’s quiet emotional energy blooms:
I’ll attempt for all of my life
Simply to seek out somebody
who leaves on the sunshine for me
Leaves on the sunshine for me
Ah-ah
There’s a tenderness in that imagery — the softest type of devotion, of being remembered and held in another person’s world. It’s a hope that doesn’t demand fireworks, only a mild left on.
With “Potion,” Keery affords not only a track, however a second – a delicate pause within the album’s arc, stuffed with sincerity, vulnerability, and heat. It’s the type of monitor you come to when the world feels too loud; the type of monitor that doesn’t simply ask to be heard, however to be felt.
Mr Magic and the trapdoor women
Huge stroll, no speak
Glitz and glamour doesn’t age like wine does
I’m countin’ on love
When the guide is within the remaining chapter
Man, it’s all the time unhappy to go
Whatcha taking from the rightful lender?
I, I, I…
Since first debuting Djo in 2019, Keery has persistently confirmed himself a singular voice and a standout songwriter — and but “Potion,” with its lightness, its humanity, and its fleeting, comforting grace, nonetheless feels contemporary, enjoyable, and revelatory. In its stillness, it affords one thing uncommon: A reminder that even in life’s most unsure moments, there’s magnificence in making an attempt, and solace within the hope that somebody, someplace, may go away on the sunshine.
Within the sea of 2025’s songs, “Potion” is an immediate standout — tender, timeless, straightforward to like, and unattainable to neglect.
I’ll attempt for all of my life
Simply to seek out somebody
who leavеs on the sunshine for me
Leavеs on the sunshine for me
Ah-ah
I’ll attempt for all of my life
Simply to seek out somebody
who leaves on the sunshine for me
Leaves on the sunshine for me
Ah-ah
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