November 25, 2020<November 24, 2020 On Her Side: How Cam’s “Diane” Changes Dolly Parton’s “Jolene,” and Fosters Feminist Solidarity by Erica Danielle Garcia
November 4, 2020<November 4, 2020 Essay: Happy.’s Tate Logan on His Transgender Identity & The Pop-Punk Scene by Guest Writer
August 20, 2020<August 20, 2020 A Winding Road: Brett Altman on His Search for a Sound & New EP ‘Low Overhead’ by Guest Writer
August 13, 2020<August 13, 2020 Editorial: Duwap Kaine Experiments with Sticky Electro-Trap on ‘Underdog 2’ by Ryan Feyre
August 11, 2020<August 10, 2020 Let the Music Play, Pt. 2: COVID-19 & Stories from the Independent Music Industry by Guest Writer
August 10, 2020<October 13, 2023 Let the Music Play, Pt. 1: COVID-19 & Stories from the Independent Music Industry by Guest Writer
July 1, 2020<July 1, 2020 Editorial: Leah Capelle’s Debut ‘triptych’ & the Sacrilege of Dismissing Full Length Albums by Guest Writer
May 11, 2020<May 11, 2020 Every Chorus Brings Us Closer: Appreciation & Aspiration from a Middle-Aged Fanboy by Guest Writer
April 13, 2020<April 26, 2020 Essay: CMJ, Amazing Radio, and Live (Music) in the Time of Coronavirus by Guest Writer
April 10, 2020<April 10, 2020 Essay: Nicotine Dolls on New Song “After the End,” Social Distancing, and Connection During COVID-19 by Guest Writer
February 27, 2020<February 27, 2020 If I Was The Man, Then I’d Be The Man: An Essay Inspired by Taylor Swift by Lexi Lane
November 28, 2019<November 27, 2019 Atwood Magazine’s Thanksgiving 2019: Warmth, Love, and Gratitude by Atwood Magazine Staff
November 19, 2019<November 19, 2019 Artist to Watch: Weird Milk Distinguish Themselves as One of UK’s Finest with “Time Machine” by Adrian Vargas
November 15, 2019<January 2, 2020 Setting the World on Fyah: The Reggae Magnificence of Fyah Son Bantu by Guest Writer
For the Love of Music
For the Love of Music
