It’s been three long years since they released the informatively titled A 10” at 45 RPMs, but the ferocious rawk band are back with Streetwalker, a new full length due out April 13th via King Pizza.Records.

Digging at people who visit The Empty Bottle, rude music industry players, and The Flat Earth Society, High Anxiety is militant, an incredibly fast rouse of sick, catchy rhythms. By the half-way point, the proceedings are already memorable.

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.

Dreamo, the name of Teen Body’s sophomore album isn’t just a clever title, it’s a fairly apt description. Sure “shoedreamo” or “dreamogaze” might be even more accurate, but they just don’t have the same ring to them.

Simply put Coaster’s songs are enjoyable to listen to and the members radiate a powerful, fun-loving force. Regardless of the fact that they are not an active band any longer, Coaster is worth checking out if you’re unfamiliar.

Since the inception of the band, the quartet has pushed and prodded from album to album, refining their style, focus, and jumping in new directions as inspiration takes them from one shift to another. If you ask the band, their upcoming fourth album, Do This Again Tomorrow, has found the sweet spot they’ve been looking for all along.

abysskiss, which stands not only as a winningly Faulkner-esque means of describing the pitfalls of love and sex, but also a contradiction depicting the duality of life and death, two things that may be less opposites than two sides of the same coin.

The Pavement leader, with his infinite versatility, has managed to trace, once again, a new path of research that has given rise to Groove Denied.

Fans of Rock with a Capital R will find a lot to love in the song’s first 30 seconds or so, as it opens up with a tunefully slanted riff and familiar trampling drums. By the end of the song’s five minutes, however, the listener has a fuller understanding of the disparate parts that make up Hansen’s impressively varied musical palette.

The world that exists in Louisville’s State Champion’s Send Flowers is one cloaked in profound absurdity. It’s a place where you might lose your soul in “a gentleman’s hall in Tijuana” and have the manager offer to send it back home to you if he finds it, where cicadas harmonize with dial tones, where you can “unplug the stars from the sky.”

Minneapolis’ Wild Firth are set to release their sophomore album, Lawn Memory, on April 26th via the ever dependable Forged Artifacts Records. The record is a razor sharp blast of pop accessibility, krautrock repetition, and breezy indie melodies.

Earlier this month saw the release of their second full-length offering, placeholder, whose vulnerable folk-rock tracks radiate a newfound directness and confidence. These songs are honest introspections on desire, anxiety, loss and identity.

For a release that maybe could be loosely defined as “black-metal,” the first LP by Boston-based Elizabeth Colour Wheel starts with a moment all-too peaceful—just a guitar, in a room, soon joined by a crooning solo voice. Then, the floodgates open…

Gowan has produced a work of understated beauty that can easily serve as background music for driving or cooking, but can also be engaged with more attentively. When that extra attention is given, Bygones rewards the listener with intricate melodies, subtle textures, and emotional clarity.

Science! Comedy! Ted Talks! Ther’s new EP has it all. Nonultrajoy is the fourth release from Philadelphia’s own Andi Jones. It’s bright, cozy and catchy as hell; all four tracks assembling under wildly collective circumstances.

Young Jesus doesn’t get lumped into typical genres and “FFO” tags very often. They are four musical boundary pushers possessing a sharpened, unique set of characteristics to the way they jam. Complete with a philosophical backing, their music surges through moments of calculated improvisation and engulfing lyrical depth

Built on gentle electronics and meditative synths, the project of Ben Ronsenbach is both lush and evolving. “Sunrise” is the record’s sleek finale, a song that opens with back-masked melodies that dissolve in the distance, making way to an atmospheric fog and an 8-bit sounding synth progression that stings over the layered mix.

Songs roar to life, only pausing for a quick snare hit, followed by another muddy wave of distortion. The band threads the needle here, pulling in retro sounds in a way that never makes Leggy sound like a nostalgia act, or even a backward-looking band.

It would be easy for them to coast along on one bludgeoning speed throughout their self-titled debut LP, but a good noise rock band knows that they need more than that to inspire repeat listens. Thankfully, the Austin, Texas trio deliver in that regard, with a lean and well-crafted debut.

The quartet take influence from the colorful post-punk of The B-52s to the pop of No Doubt, their songs both jittery, jangly, and full of rattled excitement for things like going to the mall, alien encounters, changing perceptions and the way those go addressed by those around us.

Comprised of Keegan Graziane and Nick Whittemore, the two wrote an album that has complexity without large instrumentation. Woods Come Find Me is a beautiful collection of looping vocals, acoustic and electric guitar riffs and percussion by means of two hands clapping.

The ensemble, led by composer/arranger Simon Hanes, finds inspiration from all corners of the musical spectrum: giallo film scores, lounge-lizard cocktails, Broadway musicals, hymns from the Middle Ages, and contemporary experimental composition. You get the idea; everything is fair game.

New Brunswick mainstays Spowder and Glazer have teamed up for a freaked out sonic contusion the likes of which we’re always in need of and always taken aback by. Set to release the 7” via State Champion Records on March 14th, the pairing is a perfect fit, with Glazer’s hard-nosed fuzz punk sound decimating eardrums as Spowder make twitchy experimental noise pop anthems

The unhinged New England-based trio consisting of multi-instrumentalists Chelsey Hahn, Chad Jewett, and Wil Mulhern offer up a brief but thrilling piece of playful absurdism entitled “Landscape in Four Pieces” that will appeal to those that seek mysterious and challenging sounds.

The Snakes imbue their brand of garage punk with some well-placed post-punk cynicism and squall when appropriate that just amps up the power.

This week we’re just excited to share some new music. We’re always excited to share new music but this time the whole group got so excited we completely forgot about our topic. Hosts Nick Dooley and Dan Goldin were joined by Brooklyn’s bcc: as they got ready to record their debut album in the studio. There’s great music from Uranium Club, Beige Palace, Editrix, Sharkmuffin, Furbie, and David Nance, plus a special performance from bcc:

What could easily have been a feel good “remember when” is anything but with Piroshka’s debut album Brickbat. For starters, Miki Berenyi and company are pissed off.

Sadurn, the solo folk pop project of Genevieve DeGroot, is one of the fledgling label’s most exciting acts. Today we’re thrilled to premiere “Clementine” from their stellar upcoming EP Gleam.

Lemon Lime matches its titular inspiration; the album’s tunes represent an even greater contrast between Shady Bug’s members, influences and arrangements.

From their genre bending sound to their provocative name, everything about Blacker Face pushes boundaries. Dive deep with this feature about one of Chicago's most explosive young bands.