The music of BLAHA (which now records and functions as a quartet) picks up where The Blind Shake left off on Celebrate Your Worth, with their roots firmly in tangled post-punk while exploring psych, power-pop, garage, and surf punk.

Girl Gaze’s airy instrumentation often sounds dainty and fragile; however, the musicians show that they are anything but.

“Adagio” manages to tackle a dazzling array of themes and in the same breath deliver a hypnotically heavy track that would make The Jesus Lizard raise an eyebrow. There’s a lot to unpack.

Beast on Beast is an emotionally dense album that hides under playful songwriting and Gabby’s airy and effortless vocals that drive home the accessibility to Gabby’s inner world and life

The five-track sampling from the Providence five-piece is an absolute gem; a testimony to the fledgling band’s stylistic versatility and obvious knack for songwriting.

“Qi Velocity,” the band’s lead single was released back in the heart of the Summer, and as winter starts to loom here on the East Coast, the band’s new video for the song continues to feel like a warm blanket.

The trio’s sophomore effort is a sleek approach to melodic hardcore. Stella is filled with sweeping hooks and a revamped sound, as the album’s production value is kicked into high gear with the help of veteran engineers Jack Shirley and Steve Albini.

Sprawling lead single “Three-Fold Return” is a warm splatter of layers, both acoustic and electric, feeding back and strumming blissfuly in unison. It’s a landslide of texture without sonic overload.

Much of the material on Clearance’s recently released record, At Your Leisure, stems from the fallout of both a breakup and the election, which followed Bellis’ month-long visit to New Zealand. Clearance has learned you’re not guaranteed anything when doing music other than the material you create.

This record drives home the euphoria of rock songs that make your pulse quicken once their hooks get under your skin. For all its otherworldly ambition, its greatest achievement hails from closer to home

New York City punk stalwarts Sediment Club recently joined the 10 year club; an unimaginable yet undoubtedly applaudable achievement to be reached in an ever-shifting DIY scene.

The difference here is that he is pushing just a little further, testing his limits just a little more than we are used to. And that’s what makes this record truly special, that it proves Hartlett can maintain his sense of identity while stepping out into the unknown.

On November 9th, Melbourne’s Civic will release their latest EP, Those Who No. While their debut had more of a hardcore punk energy to it, their latest finds the quintet in a janglier mood, embracing the rawness of power-pop and big herculean hooks.

Accompanying all this fury, is some of the most inventive hardcore I’ve heard over the past few years. In a genre that all too easily retreats back into familiar tropes, Feeding Frenzy feels like it’s barely being contained, brimming with creativity and aggression.

The new Brooklyn quartet, which features members of The Mad Doctors, will release their bad tones meets good vibes self-titled debut on November 9th, wherever reckless fuzz rock abandonment is found.

Crush Crusher is IAN SWEET’s intensely intimate followup to an ongoing narrative of interpersonal relationships and self-examination, weighing in on the absurd interactions one has in their 20-somethings, in what consistently feels like the end of an era.

While lead single “The Matador” was built on strings and an ominous reverb, “Real Estate,” the album’s second single and opening track, feels more like a solo composition, Liza Victoria and company’s pastoral guitar-work paired only with her magnificent voice.

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.

Not only are these songs wild and woolly like the finest psychedelic throwbacks of recent years, but they also manage to make the heroic playing on display completely devoid of the masturbatory masculinity that can sometimes co-opt even the most credible albums

The Chicago quartet have made a name for themselves over the last few years for being unpredictable but refined, lacing their own thread of jazz fusion, prog, math rock, and beyond. The results are complex in theory but not in delivery.

Public Practice convene for one of the most exciting punk releases of 2018. The band overrides punk tropes with maleable danceability, channelling Wharf Cat label-mates Bush Tetras and the best of DC’s Sister Polygon Records.

On an album that never lets up from it’s gripping sludge and distorted pummel, “Punishers” is a stand-out in a flurry of stand-outs thanks to it’s patience. The song uses empty space to create depth in their attack, with a sordid groove and mangled guitars finding their own room to wander.

On Lovely, his latest release, we’re given a warm collection of tender hush-voiced effervescent pop leaning more toward the lo-fi side of the spectrum and perfectly executing an isolationist vision of solitary utopia.

Due out October 26th via Team Love Records (Yours Are The Only Ears, Tica Douglas), the band aren’t afraid to take chances, and the results are utterly radiant as they slink between sultry soul and indie pop with ease.

Landowner’s record Blatant serves as a reminder that through self-awareness, empathy, and passionate aggression, one can unlearn desensitization and act upon on it within personal boundaries.

Stonehart’s third album is at times meditative and serene but also cluttered and immersive at others. Primarily wordless (though not without vocals), Drew Gibson explores various moods and themes, never sticking in the same place for long because as the title says, “here is everywhere.”

Warm Bodies, the eponymous debut LP of the Kansas City group, is an exhibition in the bizarre. It’s weird to say about an art punk record with as many hooks as oddities as Weird Bodies, but it is undeniably hardcore and rips extremely hard.

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.

(After) is a live recording between the release of Mount Eerie's previous two albums, A Crow Looked At Me, an album-length elegy recounting the time surrounding the passing of his wife Geneviève Castrée, and the subsequent Now Only, which hits more as a collection of vignettes and meditations about his life with his wife before, during, and after his time with her.

Kyle Gilbride (Swearin’) is set to unleash a new project on the world called Missing Earth, and Post-Trash is pleased to premiere “Parliament of Trees,” the first single from the band’s debut LP, Gold, Flour, Salt which is set for release on November 16th on Salinas.