“Gravity” was the last track written (and ordered) on Zeiguer’s debut, Old Ghost. It’s a fantastic song, and it shows up again on Faraway Business in an alternate form. On first listen, it sounds stripped back, with much of the production and arrangements of the original removed to make the song even more intimate than it was before.

Black Midi’s sound on Schlagenheim is sophisticated, yet they surprise their listeners with their youth. They have studied the progression of rock through a different timeline. They are the prodigious and glitched studio musicians of the late Aughts who have ran amok over the annals of their country’s pervasive post-punk history.

Set to release their latest album, Telling Stories, with Austin Town Hall Records on the spookiest day of the year, October 31st the band stay true to the album’s title. With each song telling a unique story about life and the characters that come in and out of it.

After three previous projects, Foto sees Kota at his most laid back, most vulnerable, most inspiring. While Foto clocks in at 19 tracks, the messaging reads loud and clear.

Their new album, Triple Cancer, carries all of the warmth that you would expect from classic analog recording equipment and a little bit extra for taste. Self-recorded on (mostly) a 4-track, the album is an exploration of Atchley’s innermost insecurities and anxieties.

One of the most impressive things about Bend is how nimble the songwriting is. Listen to the transitions; the band is able to get from points A to B in clever ways that never sound fussy or overly technical. Keys shift and time signatures change, and if you aren’t keeping a close watch, you won’t even notice.

Better Yet Podcast’s own Tim Crisp gave us the rundown about “All of God's Money / A Tribute to Wilco's Yankee Hotel Foxtrot,” and it’s goal to raise money for AIDS Foundation of Chicago.

Today, we’re thrilled to premiere the band’s aptly-titled Pulse Points, Erasers’ sophomore LP, out via Pouring Dream and Fire Talk Records. Each track is engulfing and fully immersive, allowing listeners slowly slip into a dripping state of cosmic detachment through swathing synth melodies and a pulsing rhythmic backbone.

It’s been four months since Nonlocal Forecast’s Hausu Mountain debut and picking the right words to describe its brilliance has become nearly impossible. As the sidestep project of Fire-Toolz’ Angel Marcloid, Nonlocal Forecast showcases the Chicago-based producer’s remarkably deft hand in electronic novelty on Bubble Universe!

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.

Their latest album, Find Out For Themselves, is out today via their new home at Third Uncle Records, another fitting label to release the band’s acerbic punk that proves once again, these gents are only playing dumb. Sharp and built on razor sharp rhythms, they have a unique ability to make songs that feel as anthemic as they do discordant.

Here at the end of the century, albums like Cruel Child adequately reflect the fatigue of our generation. Yet, there’s a hope and energy behind these songs that are ultimately not as cynical as they would perhaps have you believe.

Oakland’s W0RK released Paper, their latest EP, back in April, a futuristic dystopian pop record filtered through post-punk and experimental electronic music. The duo have a rich aesthetic that involves hi-tech business attire and plenty of retro-futurism, and it all comes to life on their new video for EP stand-out “Screen Eyes.”

Returning not only to their incredibly long-winded album and track titles, but also to their improvisational, doom-steeped metal, Keiji Haino & SUMAC return with Even for just the briefest moment, an album split into four tracks, capturing the collaborators' behemothic live performance from Tokyo in 2017.

A conversation with Big Thief’s Max Oleartchik about his personal music history, life on the road, and the creation of their newest album.

The quartet, led by Ben Grigg (Geronimo!, Whelpwisher, Future Biff), formed in the late months of 2017, having released their debut single just as 2018 came to a close. The band have become somewhat of a fixture among the PRF community, contributing to their Monthly Tribute Series (specifically Guided By Voices and Kathleen Hanna), which might give you a fair indication of their sound.

If you can take away anything from Haybaby’s excellent new record, They Get There, let it be that Leslie Hong has one of the best voices in rock music right now. She easily goes from calming, mocking whisper, to blood gurgling yell.

Can’t Tell Me No is the fourth full length from Summer Cannibals, now a quartet hailing from Oregon and although the roaring guitars and pummeling rhythms remain, this record shows a little bit more nuance in sound. Jessica Boudreaux’s songwriting maintains a certain toughness, but there is a bit more bounce and softening of edges.

Led by The Locust’s Bobby Bray, together with Brandon Relf and Chad Deal, the trio will release their exceptionally titled debut album, Western Spaghettification, via Three One G. Gloriously mangled and deranged, INUS take a hyper-active look into corporate malaise and dead-inside institutionalism, with a jerky and erratic approach to deconstructed punk and serrated noise rock.

Austin’s Delicate Boys are getting ready to release their full length debut, Mineral Empire, due out July 26th as the inaugural releases of No Wisdom Records. Their sound throughout the album takes more than a few weird shifts, but at their core the quartet draw influences from garage rock, psych punk, and burly stoner fuzz.

Black Friday’s production is often finely detailed and intensely delicate, words also fit to describe the songwriting, performances, and instrumentation across the album. Often the sounds are so crystalline you might be able to caress the guitar or cymbal right in front of you.

Cheekface’s cover takes this classic Elliott Smith song and conveys a grittier approach. The tempo is slightly ramped up and acoustic guitars are replaced by fuzzy electric tones, while maintaining a majority of the original, memorable riffs.

Pet Fox’s admission of impatience is telling, “Swerving” is less than 90 seconds long. However, in that minute-and-a-half, the band are able to squeeze in a lot: several different musical phrases, one of their strongest vocal melodies to date, a metaphorical narrative, a lead guitar solo/outro, and a killer leaning chord progression.

All of God's Money / A Tribute to Wilco’s Yankee Hotel Foxtrot features contributions from Slow Mass, Bethlehem Steel, Ratboys, etc, with all proceeds to AIDS Foundation of Chicago. We’re excited to premiere Meat Wave’s “War on War,” adapting the original’s jangly space-age boogie into something more muscular and driving.

The first new album in eight years from beloved MA band Cave In should be a cause for celebration and in a way Final Transmission is still a chance to celebrate. Only, with the passing of Caleb Scofield who was tragically killed in an auto accident in 2018 the album has become the celebration of a life, an honoring and a goodbye instead of a return.

Boston’s Zip-Tie Handcuffs have been making stoney garage punk for over a decade now, earning a reputation as one of the city’s most reliable live acts. Set to release their fifth album, Warm Shadows, the record is a culmination of everything they’ve built over the last years from heavy fuzz rock to retro surf pop and hazy, shreddy, psych punk.

“The Post-Trash 60” is a guide to some (60) of our favorite releases so far with a diverse range of rock music’s many sub-genres and hip-hop, from extreme metal to lo-fi bedroom pop and all that falls between. We’ve got “buzz bands” worth the buzz, self-released hidden-gems, all the weird international post-punk and noise rock you could ever want, and of course all the artistic punk influenced indie we know and love.

Their latest effort, the EP Pigments, builds on the expertly structured songs from 2018’s Moon 2 -- this time with a more optimistic outlook complemented by brighter tones and textures.

The Lily Newton and Will Frank directed video for “Don’t Wanna Be Here At All” follows a panicky Rachel Brown racing to collect litter before reviving a back alley trash companion with a crushed grape soda can, Tony Stark style.