E-X-E-P-1-4 moves at an incredible pace, but even if it were double its length there still would not be a boring moment. There are head-bobbing guitar antics, noise breaks, and manically fast vocal trade-offs crammed into songs that range from one-and-a-half to two-and-a-half minutes.

Butterflies Drink Turtle Tears is a lo-fi punk hodgepodge built on barebones recording techniques, keen songwriting and a band’s remarkable sense of melody.

The yearning atmosphere and swirling repetition of “Cut My Heart in Two” immediately ensnares the senses on first listen, yet it’s the subtle evolutions that the track takes which really propel it into instant earworm territory.

Dead Rider have always been about presenting what’s possible and how divergent ideas can sound cohesive. And so they’ve done it again with a new record on Drag City that offers Dead Rider joining forces with experimental/noise musician Paul Williams. The pairing is met with synchronicity from both sides, each matching the billowy artistic madness of other.

“American Beers” bridges together delicate harmonies, heavy acoustics, and a brilliant viola line, tangling their lines with a post-rock grandeur while leaving the emotional heft firmly with the band’s more earthy aesthetic.

Dance on the Blacktop is filled with the imagery of everyday life: street names, city landmarks, relationships, city life, family, creativity, late nights, and long days. But these topics are tweaked, shrouded in the darker side of these things.

Orlando's Bloom relies on a focused yet casual aura, the sound of "lounge" pop from another planet, easy going and genuinely immersive. Completed all on the original tape reel up until mastering, the record was made without computers, an electronic sound delivered analog.

As this backlash to the far-right and its Nazi-adjacent ideologies plays out simultaneously across the pond, IDLES have broken out as the saving grace of politically motivated punk with their radical sophomore triumph, Joy as an Act of Resistance.

Scrunchies is the punk supergroup that Minneapolis deserves. Consisting of members of Double Grave, Tony Peachka, and Kitten Forever (all great in their own right), the band’s debut, Stunner, is a self-contained wildfire of punk energy.

Their second stand-alone single of the year is another blast of anti-social blistering punk and bludgeoning noise rock. The song is garbled and violent, thrashing itself in a panicked fury, making threats and demands that genuinely stick with the band’s whole sardonic “I’m not mad, I’m just disappointed” dad theme.

Written, performed, and mixed by Charles Ditto, In Human Terms was self-released through Charles’ Ditto Records in 1987 and followed by Texas Electric in 1989, after which no further recordings were released.

It is one of the best albums of the band’s career: their most musically adventurous, a vivid and living sonic sculpture of songs that sequence into and out of each other, that enter and leave like waves beating the sides of a boat in a storm.

When he’s not recording and performing with such esteemed acts as Lomelda or Peter Matthew Bauer (The Walkmen), Ryan Von Gonten makes gorgeously cinematic pop music with the intimacy and warmth of bedroom folk with the ambition and clarity to break out of that mold.

Maine’s Nice Life are getting ready to release Lunch In Le Mans next month, their second EP so far this year and first for New Hampshire’s Dollhouse Lightning Records.

After a three-year hiatus, Ava Luna is strolling back into the spotlight with a strong return in the form of their latest LP Moon 2, which sees the Brooklyn-based indie rock group maintaining a stable position in an increasingly diverse and crowded lot of genre-bending acts.

Set to release their a new self-titled album on October 5th via Forged Artifacts (Mr. Husband, Alexander, Plums), the record’s second single brings Summer along with it, a two-step guitar melody and hooks to be found in each lulling verse.

On this outing Hernandez gets to expound on his own brand of R&B and multi-layered pop in greater depths and fully execute his own vision. Hernandez enlists help from time to time from some friends from the New York music/art scene to flesh everything out and add accompanying harmonies.

The record’s latest single “To Activate” is parts noise rock, parts convulsive math rock, and parts sci-fi prog, a beast from another dimension skittering on ground that crumbles beneath it.

“Hypnic Jerks,” the album’s title track, is about an anthemic as the Philadelphia quintet get, their nuanced lo-fi art rock taking a bold turn toward brash and discordant post-punk.

Flushed with front woman Christina Schneider’s velvety falsetto and jazzy melodies that often mold into pop ballads, the project bends in many different ways.

Recorded over the past two years, Sunday Feeling has been a long time coming, and the wait was more than worth it on a debut album that's as confident in every detail, every heartbreaking phrasing, and the depth of its emotional resonance.

Webb, otherwise known as COMPs, is a true independent—self-producing and playing every instrument on record, including the programmed drums. But his greatest strength is his ability to write memorable melodies, boiling indie rock down to its catchiest elements.

Bloomington, Indiana’s Thee Open Sex: Where the shadows are stretched into clouded psych, canvased sheets of whispered muse stretched thin but strong with creeping sounds and tribal beats.

Following an exceptional review of Tundrastomper's For Steffen Only, Post-Trash is excited to share a supplemental interview between Thrin Vianale and Tundrastomper's Max Goldstein, who constructed the experimental behemoth of a release, and elaborated a bit more about the record.

The Convenience are getting ready to release their debut EP. The New Orleans duo, comprised of Nick Corson and Duncan Troast (current and former members of Lawn, Video Age, Pudge, and Fishplate), find themselves in a world of psychedelic pop both breezy and instantly catchy.

On first listen, Bon’s vocals are enough to convince you to buy whatever she’s selling, so it’s a bonus that the material on Sleep is on par with the voice that drew you in. Over the course of its five songs, the album showcases Bon’s impressive range, both in songwriting and performance.

Its been three years since we’ve heard from Stamford, CT garage pop quartet Jacques le Coque, but the band are set to release Positively... via King Pizza in early October. Their sound captures the same territory of care-free bubblegum pop weirdness as early King Tuff and Nobunny.

A finely chiseled sculpture this album is not. These songs avoid the metal-by-numbers feel of neatly-divided sections set off by telegraphed transitions. Rather, these songs move languidly from part to part via understated hinge points: a short lead riff ringing out once or twice; a change in the chugging rhythm and a slight decrease in tempo.

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.

“Instinct,” the first single from The Funs’ upcoming album Alienated, is so sweet and hazy that it seems perfectly suited to the end of the summer.