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.

Early New York Silver is a collaboration between Lee Ranaldo and Michael Vallera. Consisting of two tracks and lasting approximately 45 minutes, it is based on a set of performances recorded in July 2022 as part of a series curated by musician David Watson. Ranaldo and Vallera spoke to Post-Trash about how their collaboration and album came together.

Sarah Everton (Telepathic, Blowdryer) expands Added Dimension’s world while still residing in the realm of lo-fi tape recordings, leaning into brighter hooks and harmonies, a garage punk record that plays it loose while also paying attention to the finer details.

Saia Kuli, also known as Guitar, has been playing in the Portland, Oregon indie and DIY scenes for over a decade. Post-Trash’s John Glab spoke with Kuli in advance of the new Guitar record about his writing process, regional sounds, and inspiration in the mundane.

On LOTTO, Philadelphia’s underground savants they are gutting a body of water tackle our current dystopia in an unencumbered analog masterpiece with some of the band’s most compelling conceptual work, writing, and intensely memorable riffs.

Dragnet Reigns continues the intriguing pursuit of entertaining-yet-somewhat-disturbing records that Dragnet revel in releasing upon the world, and the little new edges and colors add welcome intrigue. 

On Golden Caravan, Clifford presents the best of what Boston DIY has to offer. Post-Trash’s Giliann Karon chats with Clifford’s Miles Chandler about their regional influences, DIY spirit, and dialing in their excellent new record Golden Caravan.

Post-Trash’s Karina Teichert caught the legendary glam pop duo Sparks at The Tabernacle in Atlanta on their latest tour. Read their thoughts on Sparks’ one-act show and a couple photos from the night.

Across A Violet Pasture returns us directly back to Greg Jamie’s signature folk depth, a sound both of the natural world yet softly surreal. There’s a drift and a psychedelic fog to it all, but it’s focused and clear, with attention to textural detail and atmospheric resonance.

Caution is equal parts Nora Button and Cash Langdon. The duo’s punk potpourri includes elements of scuzzy electronics, pop songwriting, and hazy shoegaze. Today we’re thrilled to premiere the riff-heavy lead single from Caution’s upcoming record Peripheral Vision.

You Left Us In the Spring is a raw and captivating portrait of the mind wracked by grief. It's real and it's visceral. Sometimes haunting, other times head-bangingly catchy, but always beautiful in its technical brilliance and sincerity.

Nape Neck’s latest is entrancing, each song’s rhythm and gibberish ghoulishness offering a deeper look into this new world, this new era of no wave music. The songs on The Shallowest End lose control and give way to an abundance of purely human sound. Is The Shallowest End about the absence of control, or the overarching omnipotence of it? 

Sydney Salk’s “Various Artists” returns to round up some of summer 2025’s best compilations and the causes they support, with choice picks from Tlooth, Kilynn Lunsford, Added Dimensions, The Wrong Sky, and Chaos International.

Post-Trash’s Kurt Orzeck sits down with legendary Scratch Acid guitarist Brett Bradford talks the band’s early days, his introduction to punk, his current band Suckling, and offers exclusive shots from early Scratch Acid performances.