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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

Charli Adams for Atwood Magazine © Luke Rogers
Features, Interviews, Music, Track-by-TrackNovember 20, 2023<November 20, 2023

Track-by-Track: Charli Adams Bares Her Soul in ‘nothing to be scared of,’ a Confessional, Cathartic & Fearless EP

The Staves 'All Now' © Harvey Pearson
Music, Reviews, This Just InNovember 20, 2023<November 20, 2023

This Just In: The Staves Are “All Now,” Isn’t It Exciting?!

Kelsey Abbott © Gabe Drechsler
Columns, Music, Today's SongNovember 17, 2023<November 17, 2023

Today’s Song: Kelsey Abbott’s Dreamy “Night Vision Goggles” Basks in Love’s Eternal Warmth & Beauty

Richard Walters © Will Killen
Features, Interviews, Music, Track-by-TrackNovember 17, 2023<November 17, 2023

Track-by-Track: Richard Walters Soars on ‘Murmurate,’ a Record of Reconnection and the New Normal

Glitterfox © Jacquelyn Rachelle Cruz
Columns, Today's SongNovember 16, 2023<November 16, 2023

Today’s Song: Portland, OR’s Glitterfox Ache With Anxiety & Exhaustion on “TV,” a Cathartic Indie Rock Anthem

Holly Humberstone 'Paint My Bedroom Black' © Constantine Spence 10
Debut, Music, ReviewsNovember 16, 2023<November 16, 2023

Our Take: Holly Humberstone’s ‘Paint My Bedroom Black’ Is a Bold, Brutal, & Breathtaking Debut

Lindsay Lou is the 'Queen of Time' © Dana Kalachnik
Features, Interviews, Music, Track-by-TrackNovember 15, 2023<November 15, 2023

Track-by-Track: Lindsay Lou’s Tender Tempest ‘Queen of Time’ Unpacks Grief, Healing, Self-Knowledge & More

Truth Club © Alex Montenegro
Columns, Music, Today's SongNovember 15, 2023<November 20, 2023

Today’s Song: “Uh Oh,” Truth Club’s Heavy-Hitting Grunge Cuts Like a Knife & Chills to the Bone

Black Polish © Alexandra Petruck
Music, PremieresNovember 15, 2023<November 15, 2023

Premiere: LA’s Black Polish Blooms in “Streetsigns,” an Achingly Intimate & Beautifully Vulnerable Confessional

G Flip's sophomore album 'DRUMMER' is described as "a pop album centered around live drums."
Features, Interviews, MusicNovember 14, 2023<November 14, 2023

Interview: G Flip Embraces the Kit on ‘DRUMMER,’ Their Hard-Hitting, Drum-Centric Sophomore Album

C3zr © Vanessa Valadez
Music, PremieresNovember 14, 2023<November 14, 2023

Premiere: Chicago’s C3zR Aches on Intimate “Not Over U,” a Haunting, Brooding, & Breezy Post-Breakup Seduction

SIPHO. "LOCK IT IN" © Marco Grey
Columns, Music, Today's SongNovember 14, 2023<November 14, 2023

Today’s Song: SIPHO.’s “LOCK IT IN (NO REGRETS)” Is an Unapologetic Fever Dream Off Debut LP ‘PRAYERS & PARANOIA’

Katastro at Red Rocks Amphitheatre, 2022 © Chris Fiq
Interviews, Music, Music Videos, PremieresNovember 14, 2023<November 14, 2023

“I wish that we could stay right here forever”: Katastro’s Heartfelt Anthem “Good Time” Is a Beautiful Tribute to Late Singer Andy Chaves

Angie McMahon © Taylor Ranston
Features, Interviews, MusicNovember 10, 2023<November 10, 2023

Cosmic Crying Affirmations: Angie McMahon Dives into the Raw Depths of Sophomore LP ‘Light, Dark, Light Again’

OTNES © 2023
Debut, Features, Interviews, Music, Track-by-TrackNovember 10, 2023<November 13, 2023

Exploratory, Nostalgic, & Cinematic: OTNES Bares Her Soul on Debut Album ‘SHOW THEM WHAT’S INSIDE!’

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Recent Posts

  • Editor’s Picks 156: Green Gardens, Casper Sage, MUANH, Filiah, Lockimara, & Widemouth! June 3, 2026
  • “The Alchemy Is Getting Stronger”: Montreal’s Art-Rock Band Museums Are Well Worth a Visit June 3, 2026
  • “Truth Calls Us Back to Who We Were Made to Be”: Watashi Wa Meet Themselves Again on “I Am,” a Radiant Power-Pop Revival of Faith, Identity, & the Divine Spirit June 3, 2026
  • “Where’s the Optimist in Me?”: Oakwood Reflect on Bygone Days and Look to the Future on ‘Blurred Away’ June 3, 2026
  • “I Sang to Fill the Emptiness”: London’s chantel Finds Their Voice on “Into Song Again,” a Tender, Tactile Debut Born of Grief, Belonging, & Return June 3, 2026
  • “A Beautiful, Terrifying Freedom”: Worthitpurchase Turn Precision into Poetry on “Postcard” June 3, 2026
  • “It’s the Modern Way”: Conor Miley Tears Open the Theater of Outrage on “Peepshow,” a Roaring Indie Rock Reckoning for the Algorithmic Age June 2, 2026
  • “All You Need Is Community, Food, Nature, Music”: Hannah Cohen Is Finding Her Way Forward June 2, 2026
  • “Tell the Kids We Tried”: Jacob Brodovsky Faces the Future with Love, Dread, & Grace on “Kids,” a Driving Indie Folk Reckoning June 2, 2026
  • ‘Overnight Delivery’: How the New Delicate Steve EP Is Reviving the Role of Guitarist June 2, 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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