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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

Bloomsday © Sam Weisenthal
Interviews, MusicJanuary 31, 2024<January 31, 2024

Interview: Grief & Memory Converge on Bloomsday’s Achingly Beautiful “Where I End and You Begin”

CMAT © Sarah Doyle
Features, Interviews, MusicJanuary 30, 2024<January 30, 2024

“Healing is not linear”: CMAT Is Exposed & Unleashed on ‘Crazymad, For Me,’ Her Bold and Brilliant Breakup Album

junodream © Barney Curran
Debut, Features, Interviews, Music, Track-by-TrackJanuary 30, 2024<January 30, 2024

“Space, Alienation, & Wonder”: London’s junodream Unpack the Human Experience on ‘Pools of Colour,’ Their Soul-Stirring Debut Album

Marlene Larsen © XUS Photography
Columns, Debut, Music, Today's SongJanuary 29, 2024<January 29, 2024

“Happy birthday to me”: France’s Marlene Larsen Channels Inner Turmoil into Her Empowering, Spirited Alt-Rock Anthem “Birthday”

Black Polish © Alexandra Petruck
Debut, Features, Interviews, Music, Track-by-TrackJanuary 26, 2024<January 26, 2024

“Save me please”: Black Polish’s Bold, Brutal, & Breathtaking Debut Album ‘Forest (Monsters Live In The Trees)’

NewDad © Alice Backham
Debut, Features, Interviews, Music, Track-by-TrackJanuary 26, 2024<January 26, 2024

Track-by-Track: NewDad Unpack the “Sad, Noisy Rock” World of ‘MADRA,’ Their Cathartic & Heavy-Hitting Debut Album

néomí © Sophie Paris
Features, Interviews, MusicJanuary 25, 2024<January 25, 2024

“It’s the extreme reactions in life that can be traumatic”: néomí’s New Year Starts in a Space of Empathy, Compassion, and Unflinching Honesty

Signe Vange © Sara Galbiati
Columns, Music, Today's SongJanuary 25, 2024<January 25, 2024

Today’s Song: The Gentle, Sun-Kissed Grace of Signe Vange’s “Canada”

Floral Couches © Elle Stanion
Music, PremieresJanuary 25, 2024<January 25, 2024

Premiere: Nashville’s Floral Couches Aches With Warm Psych & Soul in “Where’d You Go?” Off New LP ‘Xtra Mild’

emmersonHALL © Hannah Judge
Debut, Features, Interviews, Music, Track-by-TrackJanuary 24, 2024<January 24, 2024

Track-by-Track: The Alt-Folk Charm of emmersonHALL’s Loving, Honest, & Impulsive Debut Album

Observe the 93rd © Danielle Marshall
Features, Interviews, Music, Track-by-TrackJanuary 24, 2024<January 24, 2024

“Past, Present, Future”: Inside Observe the 93rd’s Ontological Alt-Rock Reckoning, ‘Eternalism’

coldbrew's Austyn Moffat
Features, Interviews, Music, Track-by-TrackJanuary 24, 2024<January 24, 2024

“I wanted to make an album that sounded like life”: Inside coldbrew’s Jazzy Lo-Fi Seduction, ‘no time to waste’

Valley (L to R): Mickey Brandolino, Rob Laska, Karah James, Alex Dimauro © Becca Hamel
Features, Interviews, MusicJanuary 24, 2024<January 24, 2024

“Everyone’s dealing with a four-way marriage”: Valley Talk Band Therapy, the Album Experience, and Sophomore LP ‘Lost in Translation’

Lee Lewis © Shamaal
Artist to Watch, Columns, Music, Today's SongJanuary 23, 2024<January 23, 2024

Today’s Song: Lee Lewis’ “Delusion” Is a Dark and Moody Pop Song “for the Gays & the Girls”

Stolen Jars' Cody Fitzgerald and Sarah Coffey © Tonje Thilesen
Features, Interviews, MusicJanuary 23, 2024<January 23, 2024

Interview: Brooklyn’s Stolen Jars Steal Our Hearts on Cathartic, Introspective, & Personal 4th LP, ‘I Won’t Let Me Down’

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Recent Posts

  • “A Eulogy and a Prayer”: Bella Cloud Lets Old Love Linger on “Spin,” a Breathtakingly Intimate Indie Folk Reverie May 13, 2026
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  • “Everybody’s Missing Their Medullas”: Debbii Dawson Dances Through Modern Dread on “Where Have All the Good Men Gone?,” a Disco-Pop SOS for the Hero in Us All May 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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