Nashville singer-songwriter Vivienne Blue makes Americana-pop for hopeless romantics. “Always on My Mind” is a burning post-break up ballad, a song that sounds pulled right from the Laurel Canyon golden era. Vivienne Blue makes Americana-pop for the

Sharp Pins is the solo brainchild of Kai Slater, a stylishly lanky 20-year-old who has come to position himself as the unassuming spokesman of Chicago’s DIY indie rock scene. If Radio DDR saw Slater playing the hits, Balloon Balloon Balloon is his sandbox for weird, retrofitted experiments that see him tinkering with both fidelity and expectation.

Post-Trash’s Rohan Press reflects on compassion, companionship, and Dead Gowns’ It’s Summer, I Love You, and I’m Surrounded by Snow.

Thanya Iyer listens closely. During a conversation earlier this year, the Montréal singer-songwriter describes the stillness she discovered while creating her third record. Post-Trash’s Aly Eleanor chats with Iyer about her beginnings, community, and the collaborative efforts on her lates record TIDE/TIED.

Inspired by the 1959 movie of the same name starring Marilyn Monroe, Some Like It Hot ushers in a new era for bar italia following a chaotic worldwide tour where the group honed their musicality, production and art-punk sound. 

Every song on Die in Love is unique and stands on its own, but it is an album that should be enjoyed in full and as loud as possible. Greet Death are taking on the constant noise of life with their own noise. Their latest is their answer to two of life's biggest noisemakers: love and death.

Watch the Sunflowers is a poetic album. Or perhaps ‘imagistic’ is a more fitting description. Adeline Hotel’s Dan Knishkowy prefers precise, strong visual images to storytelling. He tends to give you only the contours of memories without defining a time or a place

With Electric Hour, Sword II have full control over their resilient, variegated version of rock. They emerge into the present with a singular, science-fiction-esque, “easy to listen to uneasiness” that so subtly and succinctly captures the paranoid scrutiny of society today, while offering pathways towards collective resilience.

Good Flying Birds’ ability to mix DIY charm with humour is one of the many qualities that set them apart from the digital sea of soft garage rockers. Talulah’s Tape does not fall short on sharp guitar riffs and a forty-minute tracklist that breezes by.

Makena’s new album bathes and listens finds Devin McKnight turning inward, riding the tension between the personal and the universal. Post-Trash’s Benji Heywood caught up with McKnight to discuss the making of bathes and listens, the nature of progress, and how compassion and empathy can shape the future. 

The six tracks that comprise Low Healer’s hold music are uniformly immaculate grunge-pop that far surpass the typically replicative tendencies of their peers on all levels. It’s familiar and refreshing—true indie rock, through and through.

On Worldwide, Snooper embrace their id on the band’s second record in defiance of the dreaded-slash-silly “sophomore curse.” The band’s latest documents their arty, seemingly stream-of-conscious chaos in 2025.

Boston duo Lane have a record due out next year. Love is in the Rain’s lead single “Scream” finds Wes Kaplan and Julian Fader taking a more direct approach to indie rock, embracing their childhood influences for something as interesting as it is nostalgic.

UK-based singer-songwriter Joyeria’s new EP Graceful Degradation is a collection of six tracks as ironic and bittersweet as its title suggests. Each song not only questions life itself, but also challenges the very nature of indie rock.

Good Flying Birds use 20th century tech to craft 21st century guitar rock. Sharp, punchy, and loaded with hooks, their latest record combines analog recording techniques with Internet ubiquity. Post-Trash spoke with GFB’s Kellen Baker about dreams, home recording, and their excellent new record Talulah’s Tape.

Three years after bursting out, Maraudeur are set to release their next album, Flaschenträger, a record that zips between frantic post-punk and mesmerizing grooves. Leipzig’s favorite art punk band are pushing beyond the framework and wandering down rabbit holes.

Post-Trash's Joseph Mastel talks with pop musique concrète artist claire rousay about collaboration, process, and the making of an unintentional triptych.

Not a second is wasted on this essential entry into the collection of every fan of heavy music who doesn’t like Disturbed and Korn. The 12-track, 24-minute Invasive Species is a sludgy, grindcore-curious, d-beat slab with crust blackened to evil perfection.

a little death, the latest project from Los Angeles-based sound collagist claire rousay, finds itself in the ambient crevices between daylight and darkness – meticulously constructed from field recordings taken by Rousay at fleeting moments of dusk.

Izzy Hagerup, also known as Prewn, never shies away from the dirt and the grit. System continues upon Prewn’s sense of trudging through dimmed emotions, where the darkness is starting to be balanced out by light that can slowly take it over.

Night Palace feels like an epic tribute to nature. As Mount Eerie, Phil Elverum is deeply philosophical throughout, and the ghost of Kafka looms large at points. It’s a work imbued with meaning that is somehow paradoxically meaningless—much like existence itself.

Izzy Hagerup is reaching for a sensation, a thing that she can’t shake out of her head, an obsession with the shape of music, of her music, of just the right note that clicks the right emotion or feel in her body and soul. It’s something that can’t really be measured.

Post-Trash’s Khagan Aslanov speaks with analog hardware genius Afrorack about his earliest musical curiosities, making DIY instructional videos for Arturia electronics, building his improvised live sets in real time, and what comes next.

Michelangelo Dying is a strong collection of memory and hurt. It’s a reminder to dance despite the sorrow. Cate Le Bon has a gift of cutting through the crap, delivering a record that is at once pure and tender, yet brutally honest and descriptive of the humiliation and joy of falling in (and out) of love.

I’m Nice Now, Upchuck’s first album with the British label Domino, carries all the same fierce rage as their earlier projects with newer tricks up their sleeve. It makes you wanna get up, freak out, and scream with them.