Giliann Karon in conversation with Will Anderson of Hotline TNT about relentless touring, their new album Raspberry Moon, and more.

Jellywish is a zenith achievement for Florist, released at a time when so little makes sense. Emily Sprague staying true to her brand of carefully considered, raw and open-hearted folk-pop for over a decade isn’t just impressive; it’s masterful.

Whether it's proudly discussing their hometown Chicago scene, the beauty of early Ramones production, or just talking about the bands they love, Lifeguard’s clear DIY ethos isn't just an aesthetic. It’s a creed the band lives by.

Perennial know their way around both a song and an experiment, and Perennial ‘65 find them melding the two approaches. The band knows a great song isn’t just the composition, or the chemistry, or the performance, but the synthesis of all parts.

Two years out from their 2023 debut, 21-year-old Sofia Jensen has slipped into a cozy niche on Lost & Found. Their profundity comes from keeping it simple—Jensen puts into words the feelings that feel undefinable. 

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 Cure’s most enduring feature-turned-strength over the years has been their uncompromising streak. The biggest difference between Songs of a Lost World and the rest of the Cure’s 21st century albums is a renewed sense of focus and an awareness of their strengths.

Charlotte Marionneau may be your favorite musician’s favorite musician. Planet Ping Pong feels true to the human experience, and Le Volume Courbe has magnificently captured that range on this record.

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”.

Birthing glows as much as it growls. Like most of Swans post-revival work, it’s a behemoth of an album. Through combining the old with the new, it shines a light over the final dim corners of Gira’s twistedly beautiful world.

Perennial have been on a steady streak of high concept and high energy releases. They’ve followed up their most accomplished LP with Perennial ‘65, which imagines the band in the shoes of their influences. Post-Trash spoke with Perennial’s Chad Jewett on their writing and recording process, visual aesthetic, and their influences .

Much like their Ohioan predecessors, DANA are determined to move only on contorted trajectories, and the songs of Clean Living come at you like lit pinwheels. DANA may be relative newcomers to the game, but this manic collective are well on their way to the state pantheon.

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.

Deady are gearing up for the release of their full length debut, 2 Dead 2 Furious, due out in September. The band are on tour now, and there’s “Bad As It Sounds,” a brand new single from the upcoming album.

Lifeguard are a band that knows bands, their styles, their history, and why their sound works, but they're never vultures or revivalists. Rather like the great art punks of the late seventies and early eighties they rip and tear apart these sounds and ideas with surgical precision. Restitching the pieces together into phenomenal three-minute slabs of Frankenstein punk that emanate a roaring radiant electricity.

Le Pain is immensely charming in their take on classic pop and Kraut-Rock experimentation. Their wonderful musical mélange showing softness—evoking springtime walks in parks in full floral bloom—with a tenacious attitude is on full display on Dirge Technique.

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”.

Post-Trash’s Benji Heywood sits down with composer Qasim Naqvi for a conversation about his new record Endling, and the process behind his otherworldly modular synthesizer compositions.

With their debut EP Love Is a Dog from Hell, forty winks explore alternative rock that splashes across certain characteristics: mathy compositions, shaggy noise production, and solemn vocal deliveries held together with unsure love narratives that still carry immense yearning.

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.

Pulling from the paisley-ed and darker corners of garage rock, Living Dream delivers an artful 15-minutes of jangly and sinister, vintage-tinged psych rock, where reverb acts as a shadow casting mystery and mire over everything.

Three years out from “Raining Punches,” Moon By Moon feels like a different band. “Dogs” is the Philly-based duo expanded, their sound waxing before our ears, slipping out the door and into the night.

What Fib turned out in Heavy Lifting sounds quite the opposite of what the title suggests. The Philadelphia band’s sophomore release comes across effortless, homespun together like an intricate spiderweb of sounds they were simply designed to emit.

Rat Porridge’s noise is poetry. Today, we’re thrilled to premiere the Cherry Nin-directed video for “nvr stills,” track two off Rat Porridge’s archival mixtape I Love the Earth, which finds Rat Porridge waking in the woods, following the tracks, and finding the rhythm in the noise.

Free Range’s new album Lost & Found crystallizes the confusion and newness that accompanies young adulthood. Post Trash caught up with Sofia Jensen to discuss separate yet intertwined transformations, the gratifying songwriting process, and why Chicago is the best city for indie rock.

Credit’s music is unplanned magic; it’s nebulous and nonconforming. The Baltimore collective’s melodic hardcore roots surfaced on their 2023 debut, but The Last Few Years signals a breakthrough in style, collaboration, and mindset.

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.

On YEARN IV, Teether and Kuya Neil flex the muscles they’ve diligently trained since their first two mixtapes, GLYPH (2021) and STRESSOR (2023). The pair never lingers too long on a single concept or influence, instead gracefully cruising from thought to thought, genre to genre.

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.

With principal songwriter and singer Francie Medosch now based in Vermont, Florry approaches their new album Sounds Like… with the same easygoing, effortless feel as all great country rockers do. Sounds Like… is loose, heavy on rock licks, fun, and embraces band jams.