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Mitch Mosk

Mitch Mosk

Mitch is the Editor-in-Chief of Atwood Magazine and a 2014 graduate from Tufts University, where he pursued his passions of music and psychology. He currently works at Universal Music Group in New York City. In his off hours, Mitch may be found songwriting, wandering about one of New York's many neighborhoods, or writing an article on your next favorite artist for Atwood. Mitch's words of wisdom to fellow musicians and music lovers are thus: Keep your eyes open and never stop exploring. No matter where you go, what you do or who you are with, you can always learn something new and inspire something amazing. Say hi here: mitch[at]atwoodmagazine[dot]com

Little Boots © 2022
Features, Music, Reviews, Track-by-TrackMarch 18, 2022<March 18, 2022

“DIY Disco Pop”: Little Boots Dives Inside Her Groovy & Glistening 4th LP ‘Tomorrow’s Yesterdays’

Ken Yates © Jen Squires
Columns, Music, Today's SongMarch 18, 2022<March 18, 2022

Today’s Song: Ken Yates’ Soothing & Stirring Apocalyptic Lullaby “The Big One”

Danielle Ponder © Hannah Betts
Columns, Music, Today's SongMarch 17, 2022<March 17, 2022

Today’s Song: Rochester’s Danielle Ponder Channels Resilience & Renewal in Soul-Stirring “So Long”

Michael Baker © Alice Humphreys
Music, PremieresMarch 17, 2022<March 17, 2022

Premiere: Embracing Connection in Michael Baker’s Intimately Ethereal & Softly Cinematic “Until the End”

Rudy Touzet © 2022
Music, PremieresMarch 17, 2022<March 17, 2022

Premiere: Escaping Reality with Rudy Touzet’s Party Anthem “Goodnight Moon”

Atwood Magazine Editor's Picks 58
Columns, Editor's Picks, Features, MusicMarch 16, 2022<September 29, 2022

Editor’s Picks 58: Rachel Chinouriri, Shannen James, merci, mercy, riela, mxmtoon, & Jenny Berkel

Maya Abee © Margaret Leyva
Debut, Features, Music, Reviews, Track-by-TrackMarch 16, 2022<March 23, 2022

Finding Power in Our Wreckage: Maya Abee Dives into Her “Exhaling, Honest, & Confessional” ‘Divine’ EP

Amber Lewis © David Kaminsky
Columns, Music, Today's SongMarch 16, 2022<March 16, 2022

“They Sold You Away, and They Sold Me Away”: Singer/Songwriter Amber Lewis’ Hauntingly Beautiful Love Letter, “Clotel”

Anna Shoemaker © Josefine Cardoni
Debut, Features, Music, Reviews, Track-by-TrackMarch 15, 2022<March 15, 2022

Feature: Anna Shoemaker Dives Inside Her “Self-Effacing, Self-Destructive, and Diaristic” Debut Album ‘Everything Is Fine (I’m Only on Fire)’

Giift © Mikaela Grogan
Columns, Music, Today's SongMarch 15, 2022<March 15, 2022

Today’s Song: Giift’s Tenderly Acoustic Debut Single “Fed Up” Reckons with Vulnerability & Intimacy

Luna Li © John Li Wang
Debut, Features, Music, Reviews, Track-by-TrackMarch 14, 2022<March 14, 2022

Track-by-Track: Toronto’s Luna Li Dives into the Dreamy Depths of ‘Duality’

Young Rising Sons © Jesse DeFlorio
Debut, Features, Music, Reviews, Track-by-TrackMarch 11, 2022<March 11, 2022

Feature: Young Rising Sons Shine on Long-Awaited Debut Album ‘Still Point in a Turning World’

Atwood Magazine Editor's Picks 57
Columns, Editor's Picks, Features, MusicMarch 10, 2022<September 29, 2022

Editor’s Picks 57: Ego Ella May, Memorial, Stars, Bear’s Den, Linqua Franqa, & John Mark Nelson

Griff Clawson © 2022
Columns, Music, Today's SongMarch 10, 2022<March 10, 2022

Griff Clawson’s Dynamic “Haircut” Is a Song of Heartache & Emotional Split Ends

Phebe Starr © 2022
Debut, Interviews, Music, PremieresMarch 10, 2022<March 11, 2022

“Transcending pain into something beautiful”: Phebe Starr Shines Raw & Radiant on Debut Album ‘Heavy Metal Flower Petal’

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