Felt like forever is a project that will resonate with everyone, drawing on inklings of nostalgia from melodic themes to softly spun lyrical repetition. It’s easy to be wrapped up and day dream away as SCayos invokes the growing pains and triumphs of a time in our lives that can feel like forever.

You’re Weird Now has many twists and turns and important questions to pose, as well as amusing literary and cultural references, but the band is in full force and these songs will not be overpowered by anything due to the awe-inspiring art of Guerilla Toss.

Minneapolis’ she’s green has returned with another ethereal album Chrysalis. The record satisfies the crave for the band’s authentic approach to shoegaze and their emotionally in-tune dynamic, promising to impress old fans and new. 

Titanic, the collaborative project composed of avant-garde cellist Mabe Fratti and multi-instrumentalist I la Catolica, revels in free-wheeling compositions. On HAGEN, the duo directs their heartfelt musicality into something more firm and focused, utilizing their freewheeling spirit to elevate the feelings into a burnished extreme.

Four years after the release of Hélène Barbier’s great second album, Regulus, the Montreal based musician returns with new album Panorama, due out November 14th via Bonsound, a record bursting with cosmic beauty and tangled clarity.

Post-Trash’s Khagan Aslanov sits with experimental double bassist Brandon Lopez to discuss his musical background, recording modus, and the inherently political nature of being an artist in 2025.

The St. Louis-based, grungy dreampop group Algae Dust are back. Rearranging is an album of growth, gains, and loss, looking deep into the internal effects of one’s relations and environment.

A weekly post highlighting but a few of our favorite new releases in splendid alphabetical order, brief and (hopefully) informative. There’s a lot of great music out every week and these are but some of the many we think you should check out.

I guess we all want our lives to be like a song. Verse and verse building to a resolute, resolving chorus. Perry Eaton, the MA-based singer-songwriter behind the new Americana project Ivy Boy, knows that life doesn’t really work out that way—that threads are left tangled and lost.

That tacit slippage between sweetness and bitterness is the heartwood of Wednesday’s newest and most mature record, Bleeds. Every image in Karly Hartzman’s writing comes back to this taproot: how things that are supposed to heal you can also hurt you.

Formed in Boston nearly 20 years ago, the band proves that the passage of time brings with it enhanced creativity and brand new ideas. On Sunshine and Balance Beams, expect fuzz-laden guitar, crooning vocals and orchestral flourishes from Pile’s stellar lineup.

Boston’s Pariah Dog are a new band from Max Green and Tré Hester, who both spent time playing in the earliest Great Deceivers line-up. They’ve decided to reunite and start a new project with their intricate and gorgeous debut album, Stirring Truth, due out on October 3rd.

Post-Trash’s Kurt Orzeck chats with death metal duo Kontusion about draining tofu, a Czechian festival gone awry, and their crushing new record Insatiable Lust For Death.

On “Stressed in Paradise,” Buddie flees to nature to find peace, but remains tethered to their phones, engrossed in clickbait and violence. Funneled through sunny melodies and grunge pop vocals, Buddie does what they do best – fighting apathy with collectivism and wrapping it up in an earworm.

Magic, Alive! is a refreshing shift towards the way McKinley Dixon expresses himself and his emotions, involving the wonderful magic of stories and the poignant lessons that slip within them. Not only does it confront harsh realities, it also keeps memories alive, and turns them into lessons that enrich our very existence.

A weekly post highlighting but a few of our favorite new releases in splendid alphabetical order, brief and (hopefully) informative. There’s a lot of great music out every week and these are but some of the many we think you should check out.

Asher White’s music is tracked on canvas with broad strokes, layers, accents, and delightful blends of influence and genre. 8 Tips is remarkably cohesive and hints at the artist’s genre-less future pop. Post-Trash spoke with Asher White about the influence of the Chicago noise scene, a teenage acid trip, concurrent apocalypses, and her Joyful Noise debut. 

Pharaoh Overlord’s Louhi consists of two 19-minute-plus songs that lumber, stomp, and trudge along from start to finish. This is one of those rare records that makes you reflect, “How did someone come up with the idea to make music like this?”

An updated version of the old, weird America courses through Edith Frost’s catalogue, replete with lost souls, mislaid plans, revenge fantasies, and the overlooked fates of people holding on for one last chance at redemption. Despite her absence, Frost hasn’t lost her touch.

Today, Post-Trash is thrilled to premiere Why Bother?’s “Indoctrination.” On their latest, the Mason City punk outfit offer answers in the mystery and mystery in the answers. Cling to reality and take back your very own astral projection with Why Bother?

This reissue is a fascinating documentation of the early years of Screaming Trees, showing a ferocity and menace the band would later perfect. The new unreleased tracks are a treasure trove, as some truly eclipse those that made it on the original album.

In their fourth decade of recording, Deftones are still able to sit together and put something like Private Music to tape, something so full of cinematic abandon and violent verve, coarse and beautiful, and as always, at odds with itself in all the right ways.

James K’s Friend beautifully achieves a repurposing and rebuilding of the past through new machinery. But instead of merely recreating the affect of these sounds, K has built something new out of them.

Rather than simply recreating a classic sound, Jeanines reshape it into miniature bursts of indie pop – ranging from 1:10 to 2:15 minutes – that each carve out their own character, colored by melancholy lyrics.

Today, Post-Trash is thrilled to premiere “Lowballer,” from Somerville-based band Otis Shanty. “Lowballer” hides its dissolution behind its sound, but to Otis Shanty, it’s about “selling dreams in a buyer’s market.”

Paddy Reagan and co. have emerged from their years-long brooding with a new batch of slacker, country-tinged rock songs that feels like a lively, warm summer night. I’m Sad as Hell and I’m Not Going to Fake It Anymore might be the most appropriately titled record to come in the year 2025.

The Edinburgh/Glasgow-based project has teamed up with Upset the Rhythm for an album that is less new wave and more rocking than last year’s model, yet still with the same levels of zaniness. This record is an all-you-can-hear feast of frizzled and frazzled erratic guitar-based slacker rock madness.

With this record, Mclusky suggest that writing songs isn’t about inventing a narrative but writing the best songs possible. The World Is Still Here and So Are We is a monument to constant process, outdoing others because you’re trying to out do yourself, but also a document of a fully locked in Mclusky – no second guessing, eager to jump the gun, and too good to miss.