Tweez goes in numerous directions: at times serious, at times ridiculous, and at times incoherent. In his liner notes, Ethan Buckler aptly summarizes, “But what was Slint? Half hardcore and half something else.” The hardcore keeps you listening while the something else leaves you wanting more.

On her new EP, CIAO MALZ spills her thoughts of what’s been eating at her mind, lamenting the stories surrounding certain characters. Around many of these characters, there’s a sense of leaving and that longing sensation, a feeling which sits, charring a hole in her conscious.

Welcome to FUZZY MEADOWS, where we recap the past week in music. We're sharing our favorite releases of the week in the form of albums, singles, and music videos along with the "further listening" section of new and notable releases from around the web.

Red Ribbon is an extremely personal album that lacks reluctance with expressing the undertones of the complex feelings within dark romance, sex, and self liberation. Ambient keys, seductive vocals, and jazzy notes surround and compliment Emma’s sharp words expressing the permanence of her actions provoked by heartbreak and a slow escape from delirium. 

Federico Stock’s “Paper Plate” is a meditation on the world’s fragility, a world where something as steady as the moon can be ripped up like a paper plate. In spite of this, the song is immovable, anchored by a warm, fingerpicked guitar that doesn’t let up until the song’s final seconds.

There’s a careful balance between Cor de Lux’s distortion and melody, wonky textures and glistening immediacy, captured with great effect on the band’s new single “Long Face People,” an expansive song that pierces and surges through locked-in grooves.

Phonetics On and On is a departure from the Horsegirl of 2022—the band has reduced its scale, forming a sound that’s intentionally stripped down. Experimenting with a “less is more” mindset, there’s so much they can accomplish with so much less.

The Bristol-via-Brighton band’s third full length explores nine stories of evil. It arrives amid persistent climate disaster, global conflict, and nuclear posturing that has the Doomsday Clock mere seconds from midnight. It’s also a surreal masterpiece by a band coming into their own. 

While it might not have a “pop” immediacy, Alpha Hopper’s corrosive sound is still bright and accessible, poking at our spongy brains with a pointy stick and a mischievous smile. Let Heaven and Nature Sing II, their first album in nearly five years, is oddly mesmerizing, picking apart blistering riffs and pounding drums, constructing a rampant onslaught of boundless energy.

The first thing you need to know about Chicago’s Bursting is that they are a supergroup. With members of Stress Positions, Thou, C.H.E.W., and Coliseum (among others), it’s safe to say Bursting, on paper, rip. The second thing you need to know about Bursting is you need to see them live, in real life, so quit reading this review.

We’re thrilled to announce the first in a series of monthly columns we’re launching from contributors new to the site. These columns will predominately cover music (and music-related writing) that Post-Trash has not typically covered before, or covered in depth.

Thunder Perfect Mind is a loose concept album narrating the sudden abduction of an unsuspecting pedestrian by a dark, expanding cloud. A lesser band would use this conceit as mere metaphor, but Motherhood is fully committed to the bit, creating a lyrical and sonic soundscape that feels as disorienting and exhilarating as a genuine alien encounter.

Welcome to FUZZY MEADOWS, where we recap the past week in music. We're sharing our favorite releases of the week in the form of albums, singles, and music videos along with the "further listening" section of new and notable releases from around the web.

While Cowards is inspired by the grotesque literature of Haruki Murakami and Ottessa Moshfegh, it's also a clear response to a world in flames. With its charging rhythms and gorgeous melodies, it appears as the band's most impassioned work yet. A demand rather than a cry for its listeners to attempt to defeat their cowardice, and to not ignore the evil in their own lives lest they become it.

This Television Personalities collection of radio performances has a handful of wonderful and deranged nuggets that show the gifts Treacy and the band possessed even through their roughest personal and professional moments. Television Personalities were a band that should have been more recognized for their impact as their colorful songs laid the foundations for many more recognizable successors.

Welcome to FUZZY MEADOWS, where we recap the past week in music. We're sharing our favorite releases of the week in the form of albums, singles, and music videos along with the "further listening" section of new and notable releases from around the web.

Genuine Dexterity is a release that might have lit the scene on fire and cemented itself as a collaboration arguably more important and revelatory than the others which raised Segal’s profile in years prior. Every song has an earnestly elliptical understanding of hip hop as a sonic and social force in a way few artists in the genre do today.

The Bad Fire is Mogwai’s exuberant and raucous eleventh album. Post-Trash sat down with Barry Burns and discussed creating art in times of trauma, Mogwai’s early years, why he doesn’t care about awards, and how not talking about their songs has kept Mogwai fresh for the last 30 years.

La Sécurité’s “Ketchup” is a spring-loaded post-punk shuffle; a high-energy, no-bullshit, all-French number built around the wonderful Québécois phrase “l’affaire est ketchup” which means “all is well.” 

Welcome to FUZZY MEADOWS, where we recap the past week in music. We're sharing our favorite releases of the week in the form of albums, singles, and music videos along with the "further listening" section of new and notable releases from around the web.

Kassie Krut is a pitch-perfect debut, and not many releases from 2024 come close to matching it. They are a band that you want to keep on your radar, as it is safe to assume that they will continue to deliver highly memorable and unique material for years to come.

Following the album’s release and a split 7” with Heavy Meddo, Queen Serene are sharing the Taylor Browne directed video for “In a Rut (I’m Stuck)”. Browne brings a brilliant mix of stop-motion claymation and a acidic charm to the natural world as good and evil forces battle it out under waves of psychedelic chaos.

Welcome to FUZZY MEADOWS, where we recap the past week in music. We're sharing our favorite releases of the week in the form of albums, singles, and music videos along with the "further listening" section of new and notable releases from around the web.

The Holy Grail: Bill Callahan’s “Smog” Dec. 10, 2001 Peel Session is a modest effort that nonetheless has much to say about both Callahan’s evolution and his consistency. This EP doesn’t rewrite history exactly, but it is revelatory about the contingent steps taken by him as an artist, more apparent in retrospect, thus amounting to a kind of rosebud explaining the move from one chapter to the next.

The no wave avant-pop rockers have unleashed the full power torrent that is Subtropical. It’s an energetic and idiosyncratic album that sees Variety tapping into something special, like a Beefheartian post-punk that is occasionally reminiscent of Clash the Truth-era Beach Fossils or Sheer Agony.

Welcome to FUZZY MEADOWS, where we recap the past week in music. We're sharing our favorite releases of the week in the form of albums, singles, and music videos along with the "further listening" section of new and notable releases from around the web.

When Burlington singer-songwriter Greg Freeman quietly dropped I Looked Out, his first record released under his own name, there was little fanfare. Looking back at it two years later, with this new vinyl reissue and a follow-up record seemingly imminent, it stands as a showcase of an exciting songwriter who came out of the gate with a fully realized musical vision and unique lyrical style, and nowhere to go but up.

Nashville’s my wall introduces their approach with three words that make perfect sense in combination but a fourth that doesn’t — in what world is noisy, punkish doom meditative? On the quartet’s second album, OVER, my wall finds room for atmosphere to weigh on noise rock.

Everything Matters, Everything’s Fire takes the sugary, dreamy goodness of Fig and turns the catchiness up several notches. The layered guitars, plodding beats, and Gep Repasky’s trademark bright yet laid back vocals are still here, but there’s an added pop direction.

Black Curse’s second album, Burning in Celestial Poison, is 45 minutes of excruciating malevolence. Four years after their debut, the band returns with four curses, recited with impenetrable shrieking and swirling guitars hollering from the depths of Hell.