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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

L.S. Dunes © Mark Beemer
Debut, Features, Interviews, MusicJanuary 26, 2023<January 26, 2023

Interview: Frank Iero & Tucker Rule Are “Reborn” in Emo Punk Group L.S. Dunes

Illiterate Light © Joey Wharton
Columns, Music, Today's SongJanuary 25, 2023<January 25, 2023

Today’s Song: Illiterate Light’s “Fuck LA” and the Endless Ache of Long Distance Love

Cartoon Hearts © Natalia Neira
Debut, Music, PremieresJanuary 25, 2023<January 25, 2023

Premiere: Cartoon Hearts Go ‘All in’ on Debut Single “legs,” a Soaring Anthem of Love, Liberation & Hopeless Romance

Roanoke © Andrea Belk
Features, Interviews, Music, Reviews, Track-by-TrackJanuary 24, 2023<January 24, 2023

“Enchanting, Nostalgic, & Driving”: Roanoke Find Redemption on ‘Wolf Motel,’ a Stunning Soft Rock Reverie

Atwood Magazine's Editor's Picks 85
Columns, Editor's Picks, Features, MusicJanuary 24, 2023<March 11, 2023

Editor’s Picks 85: Jake Isaac, Softcult, DAMOYEE, Constant Smiles, Adi Oasis, & Neon Dreams!

Dana Why 'The Lyre' © 2023
Debut, Features, Interviews, Music, Track-by-TrackJanuary 24, 2023<January 24, 2023

“Even pain can feel good.”: Asbury Park’s Dana Why Erupts with Unapologetic Intensity on Debut Album ‘The Lyre’

The Coronas, from left: Danny O'Reilly, Conor Egan, Graham Knox © Lucy Foster
Features, Interviews, MusicJanuary 23, 2023<January 23, 2023

Interview: With ‘TIME STOPPED’, The Coronas Created a Beacon of Hope

Sunday Lendis © Maria Alzamora
Columns, Debut, Music, Today's SongJanuary 20, 2023<January 20, 2023

Today’s Song: Sunday Lendis Builds a Beautiful & Wondrous Cathartic Cacophony “With Ease”

Ruminating Thoughts - Chris Walton © J R Alexander
Debut, Music, Premieres, Today's Song, Track-by-TrackJanuary 19, 2023<January 19, 2023

Album Premiere: Boston’s Chris Walton Spills His Heart on Soul-Stirring Debut ‘Ruminating Thoughts’

April Marmara © Elisa Azevedo (@intowarmerair)
Music, PremieresJanuary 19, 2023<January 19, 2023

Premiere: Lisbon’s April Marmara Evokes Love’s Magic & Mystery in “Who Knows Where the Love Goes”

I Want It to Be Light So They Can See We Disappeared - Honeyyycrush
Music, PremieresJanuary 19, 2023<January 19, 2023

Premiere: Honeyyycrush’s Haunting & Fragile Alt-Folk Surrender, “I Want It to Be Light So They Can See We Disappeared”

Atwood Magazine's Editor's Picks 84
Columns, Editor's Picks, Features, MusicJanuary 19, 2023<March 11, 2023

Editor’s Picks 84: Vagabon, Quiet Houses, Somebody’s Child, Royel Otis, Florence Arman, & Matt Corby!

Debut, Features, Interviews, MusicJanuary 18, 2023<March 11, 2023

Empowerment, Liberation, & Self-Acceptance: How Charli Adams Hit the ‘Bullseye’ While Learning to Live Unapologetically

Hazlett "Bloom Mountain" © Olof Grind
Debut, Features, Interviews, Music, Track-by-TrackJanuary 18, 2023<January 18, 2023

“Warm, Hope, & Wonder”: Hazlett Soars to Stirring Heights on ‘Bloom Mountain,’ a Beautifully Intimate Debut

Upstate © Bridget Badore • @bridgetbadore • www.bridgetbadore.com
Music, PremieresJanuary 17, 2023<January 17, 2023

Premiere: Hudson Valley Band Upstate Invite Us to “Befriend” the Enemy on Smoldering New Song

Posts pagination
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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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