The musician’s solo work picks up right where Midnight Reruns left off. Big hooks, feel good melodies, and a carefree MO find the Chicago-via-Milwaukee musician crafting some of their finest songs to date.

The feeling in hearing Why Hasn't Everything Already Disappeared? is that of rolling in the countryside, through endless expanses of grass. Every distance is filled, the limit of reality no longer exists.

It’s been less than a year since Gentle Heat released their debut album, but the Chicago quartet are back with a new EP, Liminal. Due out on February 1st via Skeletal Lightning, the band continue to refine their propulsive pop noise with influences from krautrock, power-pop, and post-hardcore with a squeaky clean delivery.

In December 2018, Living Statue Records released a tribute to Magnetic Fields’ 69 Love Songs to benefit No More Dysphoria, a non-profit working to help make transitioning a more viable option for those in need, that carries the spirit and love of 69 Love Songs with a wide ranging assortment of DIY/”Indie” artists.

The album’s first single, “Paul At Art’s Grave” is a shinning example of the band’s off-kilter pop. It’s jangly and damn near whimsical, but there’s still a sense of isolation and despair hidden in the joyous melody. With themes of space and hibernation, the song follows a front-porch barn burner of guitar picking (the could just as easily be a banjo).

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.

Their collaboration is innate and the results are spectacular. Recorded on the winter solstice of 2018 in West Philly, Ther and Sadurn’s split finds the songwriters swapping songwriting duties — Jones taking even numbered tracks with DeGroot filling in the odds. It’s simple and unhindered by post-production, creating a space as intimate as the basement where it was recorded.

Nosebleeds Always is a compilation of sorts, documenting a year’s worth of withheld demos born between the walls of the Brooklyn-based artist’s apartment. The rough, brilliant sketches found on the late 2018 release demonstrate Rachel Brown’s remarkable prolificacy and melodic prowess, further proving their place as one of the most important budding songwriters right now.

Using manipulated tape sounds and vivid swirls of melodic dissonance akin to Mega Bog or Helvetia’s earliest output, Ouch is a fantastic album that truly gets better with every listen. Originally released last summer as a digital download, Art Of The Uncarved Block are set to reissue the album on January 25th with an expanded cassette and two bonus tracks.

TK Echo’s (mems Q And Not U, Protect-U) first single “Fade My Mind” is as good a start as any, a song that sets the tone for their shifting style, led by a lush bed of synth textures and an elastic beat that snaps in and out of place, pulled tight and left to collapse into new shapes.

Camp Counselor is ready to release another EP, Scabs, due out January 15th via It Takes Time Records. Their songs are personal and bare, with an emotional tone that never hides itself in production or abstraction on an EP that deals with “letting your wounds heal and leaving behind the ones you no longer need.”

On Episode 3 we are joined by DC/Maryland’s Mister Goblin, a new band featuring Sam Woodring formerly of Two Inch Astronaut. Hosts Nick and Dan talk to the band about their recent formation, their first run of shows, and classic rock bands. The band play songs from their debut EP, Final Boy.

Their latest offers a more pop-centric sound but the quartet are sticking with their experimental hybrid of genres. There’s windswept synths that whir back and forth in delicate layers, spiraling guitars pulled gently into easy vibing melodies, and vocals that swoon and croon just above everything.

Turns Out I Was Just Really Bored is, to me, the point of realization of all the ignored emotions during boredom. It’s a sloth of emotions jumbled, filled with anticipation, contemplation, patience/impatience, and a twinge of excitement.

After false starts and scrapped recordings, Athens, GA’s Grand Vapids are set to return in 2019 with a brand new EP, Rake, due out February 8th, and a new record not far behind.

Recipes from the Bible is not located in any one musical hemisphere of noise rock in particular. It is complex; it is jaunted yet steady, noisy yet mellifluous, and aggressive yet empathetic.

The band have been making anxious post-punk bliss for several years, each successive release better than the last. While the band get ready for a new record this Spring, we take one more look at Comin’ Atcha… with a video for album closer “Uniform.”

A home recording hero, Graham Smith has been crafting catchy, oddball melodies under the moniker Kleenex Girl Wonder for over 20 years now.  On his newest offering, White Lacuna, Smith takes his witty yet heartfelt songwriting formula and has crafted something fresh and exciting.

The long-running band (whose members also play in C.H.E.W., Options, etc.) have a dynamic sound that feels compact and dense, carefully constructed and ready to burst upon exposure. There’s a painstaking quality to the way each song is built, the guitars weaving between rhythmic heft that’s somewhere between crushing and dreamy (often in both territories at once).

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.

Earl has always had something to respond to and Some Rap Songs is no exception. Despite the fact that most of it was written and recorded before the death of his estranged father, South African poet Keorpatse Kgositsile, the beauty and pain of Earl’s music has never felt more apparent, more on his sleeve, more honest.

GRLwood, in the simplest of terms, is sort of like if riot grrrl met some sort of strange screamo band. Consisting of vocalist/guitarist Rej Forester and drummer Karen Ledford, GRLwood is a band that lives for being their own thing.

A Prayer For War is the synthesis and realization of the band’s previous material. There is an incredible amount of variation from track to track. Some songs take their time building to a cathartic release. Other songs are these short and intense noise rock jams.

The songs here are not unfamiliar. In fact, many of these exact recordings have been circulating in a popular bootleg known as The Bernstein Tapes. But this might be the first time that Young has acknowledged that these recordings are worthy of release.

We're happy to present "Post-Trash's Best of 2018: Staff-Wide Top 50" as voted by the entire team (including individual contributor lists). With 14 of our writers submitting their votes, we had 189 different records nominated and only the top 3 records received a score of 60 or higher.

Set to release OGFIL at the tail end of the year via Super Wimpy Punch Records, their latest is a shift in delivery, though a slight one. Instead of the band’s usual approach to letting the vocals peak way into the red with yelps and carefree ramshackle melodies, Johnny Steines opts for a story-telling approach, weaving colorful observations and an active sense of humor into spoken word.

Dead Tooth's Zach James discusses the band’s debut EP "Still Beats,” new beginnings from TAOTSS to his latest collective, influences from a young age, and trading room for heat in the practice space.

Purple, Green and Yellow is the sophomore record from Anamon, a 3 piece from upstate New York led by Ana Emily Monaco. The band tread in the direction of jagged country-tinged pop with varying tempos and vibrato-soaked guitar squalls.

It's time once more to catch up on the unabridged Post-Trash “Year In Review” with releases that went under the radar, the hidden gems, and the essential records from the past twelve months. This is our comprehensive guide to our favorite releases of the year without a pre-determined length.

“One Bad Bear” has been given the video treatment, one that comes with a definite seizure and epilepsy warning, as if listening to this band alone wasn’t a red flag in that regard. Directed by Silas Price, the clip is triggered with the tangled menace of the song.