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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

SUNFLOWER © Mike Meade, Elite Studio Photography
Music, Music Videos, PremieresAugust 4, 2020<August 10, 2020

Premiere: Brisbane’s SUNFLOWER Energize & Enchant in Anthemic “Get Yourself Together”

The Weird Years © Shervin Lainez
Music, PremieresAugust 3, 2020<August 3, 2020

Premiere: The Weird Years’ “Lifevest” Is a Haunting & Timely Confrontation with Failing Authority

Roderick August © 2020
Debut, Features, Music, Reviews, Track-by-TrackJuly 31, 2020<July 31, 2020

More Road Than Man: Roderick August’s All-American Debut Album ‘Forever the Far the Closer the Near’

Ric Wilson © Michael Salisbury
Features, Interviews, MusicJuly 30, 2020<September 29, 2020

“Better, Not Bigger”: Chicago’s Ric Wilson on Rap, Funk, Activism, & Staying True to Himself

Jon Reynolds & The Aches © Bryon White
Music, PremieresJuly 30, 2020<July 30, 2020

Premiere: New Scars Glow in Jon Reynolds & The Aches’ Catchy Song “Love Blind”

Shimmer © Peach Luffe
Features, Music, Reviews, Track-by-TrackJuly 29, 2020<July 29, 2020

Feature: Toronto’s Peach Luffe Weaves Dreamy Wonders in ‘Shimmer’ EP

Max Helgemo © Alyssa Stark
Music, PremieresJuly 29, 2020<July 29, 2020

Artist to Watch: Max Helgemo’s Dazzling “Uncovered” Is an Indie Folk Daydream

Atwood Magazine Editor's Picks 37
Columns, Editor's Picks, MusicJuly 28, 2020<July 28, 2020

Editor’s Picks 37: Ric Wilson, Loviet, Zaia, Aquilo, Erez Zobary & theMIND

Violence in a Quiet Mind - Haux
Features, Music, Reviews, Track-by-TrackJuly 28, 2020<July 28, 2020

Fracture & Fragility: Inside Haux’s Breathtaking Debut Album ‘Violence in a Quiet Mind’

Dad Bod © 2020
Debut, Music, ReviewsJuly 28, 2020<July 28, 2020

Feature: Dad Bod’s ‘Precursor’ EP Is a Raw, Intimate, & Exciting Prelude

Empty Spaces - Eliot Bronson
Features, Music, Reviews, Track-by-TrackJuly 27, 2020<July 27, 2020

Album Review: Inside the Forlorn Human Depths of Eliot Bronson’s ‘Empty Spaces’

Tommy Ashby © Fraser Taylor
Features, Music, Reviews, Track-by-TrackJuly 27, 2020<July 27, 2020

Review: The Tender Indie Folk Beauty of Tommy Ashby’s ‘Everywhere Is Home’ EP

The Mommyheads © Juliet Rose
Music, Music Videos, PremieresJuly 27, 2020<July 27, 2020

Premiere: The Mommyheads’ Aching Open Letter “Out From Under The Glass”

Leah Capelle © Mackenzie Breeden
Debut, Music, Music Videos, PremieresJuly 24, 2020<July 24, 2020

Premiere: Leah Capelle Concludes Her ‘triptych’ Storyline with Pensive, Evocative “friends” Video

Ryann © Clyde Munroe
Music, PremieresJuly 24, 2020<July 24, 2020

Premiere: Ryann’s Aching “One Minute” Is a Dazzling, Poignant Post-Breakup Hit

Posts pagination
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Recent Posts

  • Live Review: Milk & Bone Take Us an Emotional Journey, Dancing All the Way March 19, 2026
  • “Music Is a Journey, Not a Destination”: An Essay by Re Mattei for Women’s History Month March 19, 2026
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  • Editor’s Picks 150: Fantastic Cat, Maya Engen, MUNA, Stephen Sanchez, Keni Titus, & The Undercover Dream Lovers! March 18, 2026
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  • Roundtable Discussion: A Review of Bruno Mars’ ‘The Romantic’ March 17, 2026
  • “Music Is NOT a Waste of a Good Mind”: An Essay by Linda Marks for Women’s History Month March 17, 2026
  • “Staring Straight Down the Lens”: Soda Blonde Turn Shame into Power on “Suit & Tie,” a Liberating Alt-Pop Reckoning with Identity and Self-Worth March 17, 2026
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Disclaimer: Atwood Magazine is a publication dedicated to celebrating fresh voices in music, culture, and the arts. The views and opinions expressed in our articles, reviews, and interviews are those of the individual writers and do not necessarily reflect the opinions of Atwood Magazine as a whole.

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