Time Thief is the new project from Zoe Wyner (halfsour) and James Walsh (Dump Him) out of Providence, RI and we are proud to premiere the video for their latest single “A Brief History of Ordinary Let Downs” off their upcoming self titled debut EP

Five years after the release of their self-titled LP, Teethe return with an expansively contained followup of profoundly melancholic southern slowcore. Magic of the Sale is a fleeting feeling that you can only hope to hang onto.

Understanding’s Shmutz-directed video for “Flesh is Word” captures the Toronto four-piece in reflections, on a jungle gym, and along the shore. It’s an easy, breezy, keys-forward number, and the lead single from the band’s forthcoming debut the joy of living.

Bleary Eyed’s third full-length album, Easy, is here. Released July 25th on Born Losers Records, the band has pulled the sound of shoegaze even closer. Easy dawns a broad range of intergalactic sounds, bending, stretching, and exploring the proverbial space dust of the far-reaching universe. 

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.

Post Trash is excited to premiere a new cut from Allston based “Farm Emo” band Tiberius. The project is back with their second single “Felt” from their upcoming album Troubadour, a thrilling cross section of emo=gaze and alt-country.

The Japanese psych-rock act Les Rallizes Dénudés is a cult band for which there is much to discuss, albeit with little verifiable information to go by. YaneUra Sept. '80 is a four song EP lasting just over 40 minutes that distills the improvisational essence of the band. It is a perfect entry point for new listeners. 

“Spectres” is the record’s fouth single, a song aimed for spooky season, at least in terms of how we wrestle with the events of our past and the trauma that can linger. Street Eaters dig into their post-hardcore influences, pushing and pulling in all directions like a ghost with sifting through a colander.

Post-Trash’s Sydney Salk chats with Uranium Club’s Harry Wohl about Harry Sings!, his solo project of shimmering folky experimentalism. Wohl has gathered songs from his stay at a Woodstock artists colony in 2023 on Christie's Toy Box, the inaugural release from Philadelphia label Blushing Grinning.

Nottingham’s No Peeling spent Christmas Eve recording S/T, their upcoming Feel It Records debut. Christmas came early, because S/T is the gift that keeps giving. Today, Post-Trash is thrilled to premiere the lead single, “Can I Pet That Dog?”

Ryan Davis & the Roadhouse Band’s New Threats from the Soul isn’t just a collection of voluble country rock songs; it’s an entire psychic and existential landscape that’ll damn you and reveal you, and catch you sniffing for the transcendent down in the muck and the weeds.

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.

The Kentucky three-piece have once again delivered an album that is worth all the time their audience is willing to give to it. Wombo’s latest demands full attention and will take you to foreign spaces that will open up a thrilling dream world.

Horse girls, poetry bros, and introspective circumlocutory overthinkers rejoice: Billie Marten’s fifth studio album Dog Eared is for looking out of car windows, yearning quietly, and laying on the floor as you ponder the slow passage of time. 

Boston slowcore project Clifford infuses an array of influences with bone-dry distortion. The range of their languidity makes for a compelling take on somewhat familiar indie territories without any gaps in Golden Caravan’s tracklisting.

Post-Trash’s Giliann Karon speaks with John Galm on reunion culture, his heroes and inspiration, and his excellent new solo record River of Blood.

Oldstar’s latest project is a focused, heartfelt country rock record and a studied approach to refashioning country music. Of the Highway, for all its attempts at getting out, knows where it came from.

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.

Los Angeles-based punxsutawney speak about their music as well as they play it. With little effect on the dueling guitars besides reverb and overdrive, Untitled avoids the stylistic trappings of post-rock projects that came before them, carving their own path in the genre.

On 410,757,864,530 Dead Carps, Supreme Joy’s uncertainty around the commodification of art and the hypnosis of capitalism’s spectacle is expressed through a form to the “Born to die/ World is a fuck” meme. It’s an artistic expression of dissatisfaction through the absurd yet delicately profound.

Mal Devisa’s Palimpsesa— her first project since her debut Kiid— is a collection of songs written between 2015 and 2025 chronicling Deja Carr’s musical output at all ages and stages of expression. It’s a tidal wave of memory, a trip through a musical genius’s mind, and a true reflection of who Mal Devisa has become.

Ex Agent are a remarkable group because their influences remain influences. New Assumptions exists somewhere between the slow drones of Louisville post-rock, the free-form jazz noise of no-wave, and the impeccable art punk of late-70s England.

Welcome to “Essentials,” a sporadic column for new music recommendations from one lifelong chucklehead with questionable taste. It’s similar to “Fuzzy Meadows” except the title makes more sense and we’ve removed the words “best” and “weekly”.

The record expands upon the project’s industrial experimentation, lurking deep in atmospheric dread and jarring no wave, everything given its own space to settle. There’s a refined patience to the album. Sure, it’s still noisy, avant-garde, and penetrating, but it does all that with an emphasis on nuance.

billy woods’ GOLLIWOG is an enraged and exhausted, atmospheric masterpiece that fearlessly plunges into discomfort and abuse; skin-toned, gender-based, domestic, federal, colonial, and personal.

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.

Besta Quadrada’s first full length is a self-described “bratty hardcore” record, jam packed with caustic rippers and bouncy rhythms. Much like Rotary Club or Judy And The Jerks, the band tear through each buzzing song with a surge of personality, the songwriting equal parts rippling anxiety, sass, and sarcasm.

Pygmy Lush’s TOTEM is an unlikely feat in all regards. Rising from the ashes of cult favorite screamo band Pageninetynine, TOTEM evinces a thorough re-ignition of the hard-hitting styles which first put these musicians on the map. 

Portsmouth’s Dog Lips hardly believe in down-time. Since 2022, they’ve been ripping up the East Coast DIY circuit, reveling in their signature balance of mayhem and cool. Today Post-Trash is thrilled to premiere “Gush,” the incredibly catchy first helping of Danger Forward.