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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

Cry Baby © Alec Ilstrup
Artist to Watch, Debut, Features, Interviews, MusicJune 21, 2024<June 24, 2024

“It’s a fun label to lean into”: Brooklyn Boy Band Cry Baby Talk ’90s Nostalgia, NYC’s Music Scene, & Debut EP ‘In Love Without You’

juicer © Barrett Shuler
Debut, Features, Interviews, Music, Track-by-TrackJune 20, 2024<June 20, 2024

Retire the Fences: Brooklyn’s juicer Unleash Waves of Dreamy Indie Rock Wonder in Their Debut Album

Sohodolls "Napoleon Baby" © 2024
Music, PremieresJune 20, 2024<June 21, 2024

“Battlefield inside my brain”: Sohodolls Premiere “Napoleon Baby,” a Song of Dreams, Drives, and the Seduction of Success

False Comforts by Max Blansjaar
Debut, Features, Music, PremieresJune 20, 2024<June 20, 2024

Album Premiere: Max Blansjaar’s Debut LP ‘False Comforts’ Is a Radical Record of Rebellion, Reckoning, & (Un)Resolve

Joe P © Jimmy Fontaine
Features, Interviews, MusicJune 20, 2024<June 19, 2024

“We take pictures so we remember who we are”: NJ’s Joe P Talks Memory, Photography, & His Impassioned Anthem “Birthday Baby”

Brigitte Calls Me Baby © Scarlet Page
Music, Reviews, This Just InJune 19, 2024<June 19, 2024

Artist to Watch: Brigitte Calls Me Baby Are Unleashed in Dramatic, Existential Anthem “We Were Never Alive”

Glass Animals © Drewby Perez
Columns, Music, Today's SongJune 19, 2024<June 18, 2024

“Water, running down my face”: Glass Animals’ Aching, All-Consuming Anthem “A Tear in Space (Airlock)”

Blind Pilot © 2024
Columns, Features, Interviews, Music, Today's SongJune 18, 2024<June 24, 2024

“There’s always a deeper truth to hold”: Blind Pilot Soar Once More on “Just a Bird,” Their First Song in 8 Years

Aquilo 'Painkiller' © Harvey Pearson
Columns, Features, Interviews, Music, Today's SongJune 14, 2024<June 19, 2024

“A lot of these songs are about close friends, partners, and loss”: Aquilo’s New Music Aches From the Inside Out

Ok Cowgirl © Rita Iovine
Features, Interviews, MusicJune 14, 2024<June 14, 2024

“Sometimes vulnerability just looks like trash”: Ok Cowgirl Channel Raw Energy into Fiery Sound on “Little Splinters & “Forever”

LULLANAS © Luda Ronky
Debut, Features, Interviews, Track-by-TrackJune 14, 2024<June 14, 2024

Cathartic, Empathetic, & Emotive: Folk-Pop Twin Duo LULLANAS Shine a Soft, Soothing Light on Debut Album ‘Pretty Lies & Time Machines’

French Cassettes 'Benzene' © Marisa Bazan
Features, Interviews, Music, Track-by-TrackJune 13, 2024<June 15, 2024

“It took so long to find a way to fill the silence”: Basking in French Cassettes’ Sunny, Spirited Third Album ‘Benzene’

Sabrina Song © Livy Wicks
Debut, Features, Interviews, Music, Track-by-TrackJune 13, 2024<June 13, 2024

“Introspective, Loving, & Optimistic”: Sabrina Song’s Soul Is Exposed on Debut Album ‘You Could Stay In One Spot, and I’d Love You The Same’

Under The Rug © 2024
Music, Music Videos, PremieresJune 13, 2024<June 13, 2024

Video Premiere: Austin’s Under the Rug Channel Sylvia Plath’s Spirit in “mad girl’s love song”

Sunnsetter © Jules Mancuso
Music, PremieresJune 12, 2024<June 12, 2024

“Never wanna go back”: Sunnsetter’s “Try Again” Is an Aching Alt-Rock Anthem of Perseverance, Guts, & Pursuing Your Dreams

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Recent Posts

  • The Runarounds Ask for Belief in Their Music First – “Arrhythmia (I Hope You Stay)” Still Points Toward Greater Potential February 20, 2026
  • Editor’s Picks 148: MARIS, Brigitte Calls Me Baby, midori jaeger, Brown Horse, Hayden Everett, & Happy Landing! February 19, 2026
  • Album Premiere: Drexler’s ‘Olympia-5’ Is a Montage of Memories, Charting the Process of Grief, Hope, & Reckoning February 19, 2026
  • “I Talk About You to Anybody Who’s Gonna Listen”: Donovan Woods Offers a Beautifully Devastating Act of Remembrance in a Stirring Folk Elegy February 19, 2026
  • ‘Big Changes’ Are Coming: Adam Sturgeon of Status/Non-Status on Identity, Responsibility, and Endurance in Modern Canada February 18, 2026
  • “I Know Myself Better Now”: Ásgeir Introduces ‘Julia’ as His Most Personal Album Yet February 18, 2026
  • “Sweet July, Could You Stay Here Forever?”: The 4411 Bottle the Ache of Growing Up in a Golden Indie Folk Ode to Friendship & Time February 18, 2026
  • “Let’s Slow Down and Be Brave”: Konradsen Embrace Enduring Love With “Efficiency,” a Smoldering Indie Folk Reverie February 17, 2026
  • “You say that it’s love, but you don’t even know me”: Grace VanderWaal’s “Prettier” Explores the Haunting Cost of Being Admired February 14, 2026
  • Editor’s Picks 147: Almost Heaven, Philine Sonny, Carter Vail, Haute & Freddy, Florentenes, & Endearments! February 13, 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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