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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

Victoria Bigelow © Devan Skaggs
Artist to Watch, Columns, Music, Today's SongDecember 7, 2022<December 7, 2022

“I’ll never open myself up like this again”: Victoria Bigelow’s Beautifully Devastating “Song for No One” Is a Dreamy, Raw Reckoning

Wilby © Christina Coleman
Artist to Watch, Music, PremieresDecember 7, 2022<December 7, 2022

Premiere: Wilby’s Beautifully Vulnerable & Radiantly Raw “reach u” Reckons with Accountability and Acceptance

The Burma @ Ciara O'Toole
Features, Interviews, Music, Track-by-TrackDecember 6, 2022<December 6, 2022

Sucker for Stars: Ireland’s The Burma Soar with Cinematic & Sweltering Indie Rock Debut

Atwood Magazine's Editor's Picks 81
Columns, Editor's Picks, Features, MusicDecember 1, 2022<March 11, 2023

Editor’s Picks 81: Julie Kuhl, Tancred, two blinks, i love you, Pomme, Angelo De Augustine, & Bad Posture Club!

The Mysterines © Steve Gullick
Debut, Features, Interviews, Music, Track-by-TrackNovember 30, 2022<December 19, 2022

Reeling You In: Liverpool’s The Mysterines Erupt with Raw Passion on Feverish & Unapologetic Debut Album

The Real Zebos © 2022
Features, Interviews, Music, Track-by-TrackNovember 29, 2022<December 1, 2022

Feature: The Real Zebos Have ‘no style’, and They Wear It Well on Fun n’ Feverish Sophomore LP

Atwood Magazine Editor's Picks 80
Columns, Editor's Picks, Features, MusicNovember 23, 2022<March 11, 2023

Editor’s Picks 80: Rachel Chinouriri, Green Rays, Mary Middlefield, Joesef, The Okay Lakes, & Razorlight!

Jackson Mico Milas © Max Fairclough
Debut, Features, Interviews, Music, Track-by-TrackNovember 22, 2022<November 22, 2022

“Room with a View”: Jackson Mico Milas Debuts His Cinematic, Stirring & Smoldering Album, ‘Blu Terra’

Connie Constance © Phoebe Fox
Features, Interviews, Music, Track-by-TrackNovember 18, 2022<March 11, 2023

“The power in you, it won’t go unnoticed”: Connie Constance Dives Inside Her Empowering, Cathartic & Catchy Sophomore LP, ‘Miss Power’

Taryn Faye Randall © Jen Trahan
Music, PremieresNovember 17, 2022<November 18, 2022

Premiere: Taryn Faye Randall’s Beautiful Song “Stride for Stride” Aches with the Strain of Love Out of Sync

Last Dinosaurs © GAKU
Features, Interviews, Music, Track-by-TrackNovember 17, 2022<November 17, 2022

From Mexico with Love: Last Dinosaurs’ 4th Album Is a Post-Lockdown Era Celebration of Life

Atwood Magazine's Editor's Picks 79
Columns, Editor's Picks, Features, MusicNovember 9, 2022<March 11, 2023

Editor’s Picks 79: Overcoats, The Coronas, First Aid Kit, Liv.e, props, & Rocky Votolato!

Waste My Time - Linebeck
Columns, Music, Today's SongNovember 7, 2022<October 30, 2022

Today’s Song: Linebeck’s Catchy “Waste My Time” Is a Cinematic & Hazy Dream Pop Tempest

B-Drop
Features, Music, PremieresNovember 4, 2022<November 4, 2022

Premiere: B-Drop Worldwide Showcases KTJ & Carly and Stephanie Hatzinikolis

Bleach Lab © Rory Dunn
Features, Interviews, Music, Track-by-TrackNovember 4, 2022<March 11, 2023

If You Only Feel It Once: London’s Bleach Lab Seduce the Heart with Hauntingly Beautiful, Nostalgic, & Brutally Raw Third EP

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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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