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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

Cutty Flam © 2017
Music, PremieresMay 23, 2017<May 23, 2017

Premiere: The Restless Dance of Cutty Flam’s “Continental Creep”

Under The Milkyway... Who Cares? - Seasurfer
Music, Music Videos, PremieresMay 23, 2017<May 23, 2017

Video Premiere: The Dark & Dreamy Power of Seasurfer’s “Too Late for Goodbyes”

CHNNLL © 2017
Music, PremieresMay 22, 2017<May 22, 2017

Premiere: CHNNLL Flows Through Life, Time, & Memory on “The River”

Chris Cheveyo © 2017
Music, Music Videos, PremieresMay 22, 2017<May 22, 2017

Video Premiere: Chris Cheveyo Dreamily Opens Up in “A Letter”

Feel EP - Dan Crossley
Debut, Features, Music, PremieresMay 19, 2017<May 19, 2017

EP Premiere: The Euphoric Heights of Dan Crossley’s Debut ‘Feel’

Sugarhouse © Phoebe Fox (SHOT BY PHOX)
Columns, Debut, Music, Music Videos, Today's SongMay 19, 2017<October 1, 2019

Today’s Song: SUGARHOUSE Debut with Ecstasy and Infatuation on “Love Anyone Else”

"The Movie" - Holy Golden still
Music, Music Videos, PremieresMay 18, 2017<May 18, 2017

Premiere: Hope & Desire in Holy Golden’s Dream-Chasing “The Movie”

Solitary Refinement - Brenda Carsey cover art
Music, PremieresMay 17, 2017<May 17, 2017

Premiere: Brenda Carsey’s Empowering “Don’t Sell Yourself” Commits to Integrity

Rosi Golan © Shervin Lainez
Features, Music, PremieresMay 17, 2017<May 17, 2017

Premiere: The Restless Pulse of Rosi Golan’s “Underneath”

hello i know you're busy - rousseau
Debut, Features, Music, Our Take, ReviewsMay 16, 2017<May 26, 2017

FEATURE: The Dark Pop and Deep Reflection of Rousseau’s Debut EP ‘hello, i know you’re busy’

Amira B © 2017
Debut, Music, PremieresMay 16, 2017<May 16, 2017

Premiere: Amira B Finds Her Voice on “I Am Defined”

Ward White © Heidi Adams
Music, PremieresMay 15, 2017<May 15, 2017

Premiere: The Poignant Identity Struggle of Ward White’s Majestic “Spurs”

The Planters © 2017
Debut, Music, PremieresMay 15, 2017<May 15, 2017

Premiere: The Urgency & Passion of The Planters’ “There’s No Time”

Smith & Thell © 2016
Debut, Features, Interviews, Music, Our Take, ReviewsMay 12, 2017<May 12, 2017

Feature: The Energy and Emotion of Smith & Thell’s Debut ‘Soulprints’

Gold into Dust - Nadia Kazmi album art
Features, Music, PremieresMay 11, 2017<March 2, 2025

Album Premiere: Nadia Kazmi’s ‘Gold Into Dust’ Embraces Raw Reflection and New Dreams

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
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  • “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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