Lawn returns with their third LP—God Made the Highway—their best since 2020's Johnny and their first on Exploding In Sound Records. The band eclectically pivots between nostalgic jangle-pop and mordant post-punk, as the duo-powered Lawn ensure each song on God Made the Highway has its own sound and identity.

In the run-up to the release of their latest – the gargantuan-sounding Ferrum Sidereum - Post-Trash sat down with Massimo Pupillo to talk about the fixation on spiritual and humanistic ritual Zu’s latest delves into.

Miracle Music is another stunning masterwork from one of the greatest bands of the 21st century. As a whole, Miracle Music brings to mind Burning Off Impurities and Take Refuge In Clean Living - perhaps the two most cryptic Grails masterpieces.

With the shoegaze revival presumably hitting its zenith, the time couldn’t be more ripe for the commemorative release of The Jesus and Mary Chain’s debut album, Psychocandy. Forty years later, authoritative music outlets have granted it their top rating, proving that it can often be clumsy to judge an album on its merits the moment it initially comes out.

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.

Obits were a band that burned brightly and relatively fast, leaving audiences with moments of emotional and personal release. L.E.G.I.T was initially released in Japan in 2014 to correspond with Obits’ Asia tour, but now the compilation of their 7’ singles and compilation tracks is getting a wider, very welcomed release.

Secret Love is like a worn jacket, slipping on seamlessly and patched up to perfection. Dry Cleaning’s third album is confident as the band itself and steeped in identity. Secret Love is like a worn jacket, slipping on seamlessly and patched up to perfection.

Post-Trash’s Khagan Aslanov walks us through the finest seven moments in Lee Ranaldo’s massive catalogue, highlighting the virtuoso guitarist’s finest pieces and musical contributions to free jazz, punk, and avant garde.

Holo Boy represents an artist coming into his own. After over a decade of releasing music as This is Lorelei, Amos has achieved critical success. With this new success, Amos can look back on the first decade of his career and refine it to match up with his current success. 

Today, Post-Trash is thrilled to premiere “I Watch You,” a brand-spankin’ new Izzy True cut recorded LIVE in Rhode Island by Bradford Krieger at Big Nice Studio. The song is about AI, and especially apropos as we witness the slop fill and distort the cracks in the fabric of our reality.

VoidCeremony’s Abditum achieved essential listening status for genre fans immediately upon its release less than a month ago. It’s almost tempting to not recommend Abditum, because if you hear progressive blackened death metal this good, you’ll be spoiled for life.

Snoozer have consistently experimented with their sound, which could be a reason Little Giants may be considered a staple album for all generations of indie sub-cultures. An airy ambiance is carried throughout the tracks by the EP's nostalgic synth, fuzzy guitar slides, and light-hearted take on the endless life changing cycles of good and bad.  

Comprised of five tightly tensioned tracks, this collection cements Orcutt Shelley Miller as architects of sonic interplay and metallic amalgamation. No lyrics necessary — this is avant-rock musical storytelling from three living legends (with the beards to prove it). 

Buyer Beware is an infernal collection of gloriously cacophonous romps; it’s arguably The Men’s best album since 2016’s Devil Music. This is a visceral and dangerous LP—in other words, it’s real rock and roll. 

We're happy to present "Post-Trash's Staff Picks: The Best of 2025" as voted by the site’s wonderful contributors (including their individual lists). With 15 of our writers submitting their votes, we had 234 different records nominated and only the top record received a collected score of sixty or higher.

From its first electric riff, Hélène Barbier’s Panorama grabs your shoulders by its proverbial hands and shakes you into a new world. Like waking up from a long and restful sleep to see the bright sun of a new day, Panorama is off-kilter in a way that finds us balanced.

Written during these years and beyond, Port Ross’s sprawling, flexible debut relies on instruments and stories from his Salt Lake City upbringing and 2023 move to Brooklyn. Nighttime at Gardner Hall grapples with family conflict, relationship trauma, and that financial struggles that bubble up as you set sail for adulthood.

Maneka has a knack for melding disparate musical ideas into a fully coherent mélange of sounds that are new and exciting, yet never stray too far from the project’s foundations. Bathes and Listens reveals another layer of Devin McKnight’s talents, which continue to unravel and reveal new joys.

Brighton quartet The New Eves released their full-length debut, which weaves mystic folk and avant-garde art rock. They disrupt playlists of today by incanting, incessantly strumming and plucking, tapping until the shape of a song emerges, waving a flag for feminist anarchic folk-punk.

Oruã’s latest full-length is called Slacker, which could be interpreted ironically considering we’re being treated to it less than a year after the band’s previous album PASSE, and just a month after their split EP with Reverse Death.

We present Post-Trash’s Year In Review, featuring one hundred of our favorite releases throughout 2025. It’s been a great year for discovering new music and we hope you find something you love. Dig in and explore.

Psych-jazz legend Shintaro Sakamoto announced his perfectly titled Yoo-hoo back in November, sharing “Dear Grandpa” and “Is There A Place For You There?” in its wake. This evening in America and this morning in Japan, Post-Trash is thrilled to premiere a live, in-studio performance “Is There A Place For You There?”

Dubbed as “thee Nyxy Nyx self-titled record” Self-Titled is like wading through the weeds without worry, nothing to jumpscare you except the slow-creeping angst of disillusionment. But the further you dive in, the more you think there might be a chance of redemptive catharsis out there somewhere.

Flaschenträger, the freshly released album by Maraudeur, feels not only intimate but also spontaneous, even deliberately unpolished. Flaschenträger is a gratifying experience for listeners who enjoy music that embraces rawness, tension, spontaneity — and the beautifully absurd.

It took years for listeners to rediscover his work, but today, Nick Drake is celebrated and frequently cited as one of the greatest songwriters of his era. Drake’s new box set is more than a collection of studio sessions, a book, and a remastered album. It is an invitation into the mind and private world of a singer-songwriter who remained unwaveringly true to his voice and style.

Thirdface imagine the ministerial cafeteria as something similar to a prison cafeteria where only your worst self gets to live another day. For all of its concerns with life’s abjections, Ministerial Cafeteria is not a hopeless record. It just has its eye on the prize.

Post-Trash’s Kurt Orzeck chats with Aaron Turner of Isis, Sumac, Old Man Gloom, and Mammifer about being a father, a collaborator with Pharaoh Overlord, and a multidisciplinary creative.

Burnover is a remarkable home run for Greg Freeman. While he takes big swings over and over throughout its runtime, he knows to play to his strengths, and in doing so, he leaves a fabulous impression.

North London’s Sorry has dropped their 3rd LP, Cosplay, and it is a doozy. It’s lyrically potent and stretches the possibilities of what an LP can or should or would sound like with layers of electronics, guitars, beats, and style.

Merzbow has always been unafraid to delve into music’s harshest, most desolate corners, often creating a profound meditative state. With Akio Jeimus, the pair present a different face of improvised music – the “contained,” hermetic chaos of the studio, and the new feral life such pieces take in live settings.