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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

Charlie Burg © Angela Ricciardi
Debut, Features, Interviews, Music, Track-by-TrackOctober 6, 2022<October 6, 2022

“Hometowns are for leaving”: Charlie Burg Soars on His Warm, Wide, Wishful Debut LP, ‘Infinitely Tall’

Orange Blood - Mt. Joy
Features, Interviews, MusicOctober 4, 2022<March 11, 2023

The Hot Honey Sauce of Bands: An Interview with Mt. Joy’s Matt Quinn on Irreverence, Inside Jokes, & Their 3rd LP, ‘Orange Blood’

Atwood Magazine's Editor's Picks 75
Columns, Editor's Picks, Features, MusicOctober 3, 2022<October 3, 2022

Editor’s Picks 75: thea wang, Victoria Bigelow, Death Cab for Cutie, Lady Blackbird, Say She She, & Pei!

Oh Wonder "Can We Always Be Friends" © 2022
Columns, Music, Today's SongOctober 3, 2022<October 2, 2022

Today’s Song: Oh Wonder’s “Can We Always Be Friends?” Is a Celebration of Love As a Higher Power

Julie Odell © Olivia Perillo
Debut, Features, Interviews, Music, Track-by-TrackSeptember 30, 2022<September 30, 2022

Stampeding, Tender, & Honest: Julie Odell Reckons & Roars on ‘Autumn Eve’, Her Transformational, Triumphant Debut Album

Tariq Shihadah © 2022
Interviews, Music, Track-by-TrackSeptember 29, 2022<September 29, 2022

“Just Keep Swimming”: The Cozy, Comforting World of Tariq Shihadah’s Softly Soothing ‘Tuck Me Away’ EP

My Chemical Romance's Gerard Way © Jessica Staley
Concerts, Music, ReviewsSeptember 29, 2022<March 11, 2023

“It Was the Roar of the Crowd”: My Chemical Romance’s Reunion Tour Hits Home in Newark, NJ

Wax Owls © Bernadette Marciniak
Columns, Music, Today's SongSeptember 29, 2022<September 29, 2022

Today’s Song: Wax Owls Honor the ‘Vegas of Friendships’ with Intimately Radiant Single “Lie for Me”

WILSN © She Is Aphrodite
Music, PremieresSeptember 28, 2022<September 29, 2022

Premiere: WILSN Comes to Life on Smoldering, Cinematic & Soul-Soaked “If You Wanna Love Me”

Death Cab for Cutie © Jimmy Fontaine
Features, Interviews, MusicSeptember 28, 2022<September 29, 2022

“Honoring the Past, But Not Bound By It”: An Interview with Death Cab for Cutie

Chad Price © Jenalle Los
Features, Interviews, Music, Track-by-TrackSeptember 27, 2022<September 29, 2022

“These hearts are heavy, but they’re not broken”: Toronto’s Chad Price Dwells in Vulnerability & Intimacy on Soul-Stirring ‘Introversion’ LP

Atwood Magazine's Editors Picks 74
Columns, Editor's Picks, Features, MusicSeptember 27, 2022<March 11, 2023

Editor’s Picks 74: L.S. Dunes, Charlotte Lawrence, Peace Ritual, Sadurday, Dear Boy, & Abby Sage!

Timothy Edward Carpenter © Samuel Greenhill
Artist to Watch, Features, Interviews, Music, Track-by-TrackSeptember 26, 2022<September 26, 2022

Feature: Timothy Edward Carpenter’s Brutally Honest & Breathtakingly Vulnerable ‘PREP SCHOOL’ EP

Why Bonnie © Alec Castillo
Debut, Features, Interviews, Music, Track-by-TrackSeptember 26, 2022<September 26, 2022

“Lonely times are louder in the Lone Star State”: The Reckoning & Raw Reflection of Why Bonnie’s Standout Debut ’90 in November’

Asylums © Alistair Underwood
Artist to Watch, Music, PremieresSeptember 26, 2022<September 26, 2022

Premiere: Asylums’ Spirited “Instant Coffee” Is a Highly Caffeinated, Deeply Cathartic Anthem for the Broken & Bitter

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Recent Posts

  • “Rev It, Brake It, Love Ya, Mean It”: Savannah Conley Cuts Loose on “Love You Mean It,” a Fun, Feverish Indie Rock Rebirth December 12, 2025
  • “I Haven’t Heard That Sound Yet”: Copenhagen’s Barbro Premieres “What Men Do,” a Softly Smoldering Indie Folk Reckoning of Unlearning & Quiet Resistance December 11, 2025
  • “Dark, Romantic, & Disorienting”: Dead Gowns Channels Desire and Grief into an Indie Folk Storm on Debut Album ‘It’s Summer, I Love You, and I’m Surrounded by Snow’ December 11, 2025
  • “Fragile, Euphoric, & True”: Nick & June Craft a Cinematic Rebirth on ‘New Year’s Face,’ an Intimate Meditation on Who We Were, Who We Are, and Who We Might Become December 11, 2025
  • Review: Underbrook Burst onto the Scene with Explosive Pop-Punk Debut EP ‘Was Happiness Too Boring for You?’ December 11, 2025
  • “Sit Back Baby, Let It Go”: néomí Embraces the Art of Release in a Soul-Stirring Mantra of Softness, Surrender, & Self-Love December 11, 2025
  • “I’ve Been Trying to Have a Good Life”: Brian Dunne Reckons Through His 30s on ‘Clams Casino,’ a Radiant Rock Record of Dreams, Disillusionment, & the Cost of Wanting More December 10, 2025
  • Coming Home: Hannah Jadagu’s ‘Describe’ Is a Sanctuary for Growing Pains December 10, 2025
  • “I Wanna Be Closer to Me”: JOSEPH Turn Pain into Power as They Step into a Bold, Raw, & Reflective New Era with ‘Closer to Happy’ December 10, 2025
  • Editor’s Picks 139: Bartees Strange, Spanish Love Songs, Dijon, Deadbeat Girl, Dutch Interior, & mildred! December 9, 2025
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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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