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Fuzzy Meadows: The Week In Review (November 16th - November 20th)

"Fuzzy Meadows: The Week in Review" is a weekly round-up of the best new music premiered this week across the internet. It's a weekly embarrassment of riches, let Post-Trash be your guide. It's the weekend, here's what happened...

AUTOLUX | "Soft Scene"

"Autolux have just shared “Soft Scene,” that album’s first single. It’s a piece of panting, throbbing jitter-pop that reminds me of nothing so much as mid-’90s trip-hop." - Tom Breihan, Stereogum

WASHER | "Figure Me Out"

"A heartwarming slacker rock smasher about existential dread." - Leah Mandel, The FADER

DISCO DOOM | "Ex Teenager"
[Clash Music]

"Disco Doom seem to swing from two poles. On the one hand, the Zurich-based band have a penchant for all out noise, for corrosive amplified guitar bedlam. But then on the other, Disco Doom can't help writing earworm melodies, the sort of infectious songwriting that can't fail to beguile." - Robin Murray, Clash Music

ROB CROW'S GLOOMY PLACE | "Business Interruptus"

"Whereas Crow's previous solo endeavors acted primarily as low-key stop-gaps between Pinback albums, the stakes are markedly higher here – and it shows in both the depth of songwriting and impressively labyrinthian performances. Gone are the 60-second blink-and-you-missed-them acoustic sketches that became a staple of Crow's solo albums; You're Doomed is filled with the kind of thoughtful attention to detail and craft that was a hallmark of Pinback's legendary catalog." - press release

WALL | "Fit The Part"

"A fresh wave of grainy post-punk comes in the form of New York’s WALL, whose itchy, scratchy, raw energy sounds like the seedy underbelly of the metropolis. The abrasive sing-speak vocals of their newest release “Fit The Part” thrive restlessly amidst enraged guitars — think DEVO meets riot grrrl — and the coarse lyrics bite with each repetition" - Cady Siregar, Stereogum

RUNNING | "Reclaimed Would"

"big and nasty, blown-out and riff-hefty, only psychedelic like a bad comedown, with pitch and yaw and reel meant to draw out delightful nausea in the listener." - Jes Skolnik, Impose

NOTS | "Shelf Life"

"Really, there was no other label in the world suited to Nots’ brand of schizoid, brazenly-frenetic punk than Memphis' home-of-the-perennially-weird, Goner." - Matt Wilkinson, NME

JEFF THE BROTHERHOOD | "Radiating Fiber Plane"

"one of the album's standout tracks, "Radiating Fiber Plane," which sees Nashville brothers Jake and Jamin Orrall creating lucid and clangy rock that feels both melodic and abstract." - 

WIMPS | "Dump"

"The video for the song, rightfully titled "Dump" and premiering below, is one long camera shot that will disorient you as much as a round of actual shots. Its moving parts (they're literally spinning) don't exactly match up, much like waking up and putting together the pieces of the drunken night before." - Noisey

YVETTE | "Calm and Content"

"the clip, which focuses on the two band members and which makes for an appropriately harrowing complement to the song. The video is all quick-edit flashes and sweaty, uncomfortable zoom-ins, and it depicts both band members as big-eyed, blank-faced automatons." - Tom Breihan, Stereogum

SOUPCANS | "Crimes 1"

"Having just dropped their latest record, Soft Party, earlier this week via Telephone Explosion, Toronto’s Soupcans have blessed us yet again with their video for “Crimes 1.” Luke McCutcheon and Michael Yablonski directed the video, and it looks like a set of outtakes from a skateboarding compilation. It’s pretty low on actual skateboarding and high on pure, unbridled rage." - Michael Rancic, Noisey

FLORIST | "The Birds Outside Sang"

"The four-minute song starts with just Sprague and a lonely synth line, but eventually builds in clattering drums and lyrics about watching “fireworks shoot up into the air.” The mood’s celebratory, in spite of the agony that sparked the whole process. Out of darkness, there’s always light." - Colin Joyce, SPIN

YAUTJA + FÓRN | "Split 7""

"this latest release is "between two young bands from different ends of the abrasive music spectrum," and they're not wrong—Fórn's  grand, funereal "Ancient Tongues" shudders and stomps at a glacial pace, while Yautja jerks and spasms through "Processed," an acidic storm of dissonant noise, hardcore, and nearly unbearable tension." - Noisey

STARDEATH & WHITE DWARFS | "What Keeps You Up At Night"

"the new “What Keeps You Up At Night,” a wobbly, daydreaming psychedelic track that sounds much like a blood relative to the Lips in and of itself." - Charles Innis, Stereogum

PRIMUS | "Candyman"
[Bass Player]

"The recent Primus & the Chocolate Factory with the Fungi Ensemble puts a slow, upright-slathered, and distinctly Les spin on the psychedelic flavor of the Leslie Bricusse/Anthony Newley soundtrack to the 1971 classic Willy Wonka and the Chocolate Factory." - Bass Player

ALEX G | "Brite Boy"

""Brite Boy" is a pretty, shambling tune. The simple lyrics channel the charm of a children's lullaby: Sun is setting by the sea/ Bright boy please return to me. The clip for the track matches this spirit with black and white illustrations. Initially, the drawings are spacious and clean; soon they fill the frame in seething bundles." - Elias Leight, The FADER

BEDROOM EYES | "Honeysuckle" LP
[Clicky Clicky Music Blog]

"Honeysuckle is intoxicating, and its uptempo material particularly so. Buzz-sawing album highlight "Plain Heir" hits like a tsunami of swirling, bending guitars, with deep reverbs elevating the drums and characteristically smeared vocals in the mix. Similarly powerful is "Gypsy," whose churning, distorted guitars and breakneck pace are all blitzkrieg and no ebb." - Jay Breitling

THE ORDEALS | "I Believe" 7"

"a (perhaps all too) brief incantation of simplistic instrumentals and raw, honest vocals, professing the things held dear to Francia’s heart. The chuck of acoustic guitar strumming makes itself known every now and again, but for the most part, an incredibly catchy electric riff trudges on incessantly in punk rhythm, and it fades out just as quickly as it takes effect, not even allowing for the fun guitar solo which starts in to really register. Positivity may be short-lived, but perhaps it’s enough." - JP Basileo, Impose

PUJOL | "Kisses" EP
[American Songwriter]

"the eight-track EP showcases a mix of experimental spoken-word pieces with surf-inspired, straightforward rock and roll. Lyrically, Pujol focuses on the theme of cynicism and how it affects the characters within its songs." - John Connor Coulston, American Songwriter

THE SHIVAS | "Gun In My Pocket (Revisted)"

"Portland quintet The Shivas, who've just transformed their tom-heavy surf-rock single "Gun In My Pocket" into a mesmerizing cut of Roy Orbison jangle-pop. The twee proginators over at the band's new label K Records must've sensed enough sadboy potential in The Shivas to claim them as their own. Hear the song in full make-over" - Bryn Lovitt, Noisey


"The California-based songwriter’s affinity for the sparkly songwriting of T. Rex’s Marc Bolan has been no secret, but next week he’s underscoring that with the release of Ty-Rex, a compilation of covers on Goner Records. Most of these renditions have already seen release on a pair of 7-inches that he released in 2011 and 2013, but Goner’s collecting them in one package for the first time, alongside a previously unreleased cover of “20th Century Boy.”" - Colin Joyce, SPIN

FAT WHITE FAMILY | "Whitest Boy on the Beach"

"perhaps the first release from the band that extends a proposition to get your feet moving like a running man, to jerk your head backward and forward, to throw a drink over your fellow man and oscillate wildly into the night with reckless abandon." - Noisey

[Rolling Stone]

"On the new track, lead singer Jehnny Beth repeats "this is what you get when you mess with love" over the increasingly aggressive guitar and drums." - Brittany Spanos, Rolling Stone

PORCHES | "Hour"

"It's darkly-lit and mostly confined to the inside of a car driving at night. The track is dominated by click-clack percussion that sounds like it was recorded on an ancient drum machine." - Elias Leight, The FADER

BIRTH (DEFECTS) | "Ascetic"

"Baltimore’s premier bum outs, Birth (Defects) wrestles with this conundrum and largely succeeds by making potent “comic inversion of masculinity” pummeling grunt/noise rock with an eye to the future and an eye to oblivion. They live political and hate freely, just like a poor boy should." - Zachary Lipez, Noisey

THRUSHES | "Salt & Stone"
[New Noise]

"Thrushes‘ new music video for their track “Salt & Stone,” filmed by Bend Films during a short break in Tampa’s record setting month of rain. The song is taken from the band’s Exposing Seas LP, which is out now through New Granada Records." - Tony Shrum, New Noise Magazine

MASS GOTHIC | "Nice Night"

"In attempt to get back to his four-track days, Heroux made an album of weird synth-rock largely on his own, under the moniker Mass Gothic. It's a surprising album, mostly in its ability to sound buoyant and tense simultaneously; its first single, "Nice Night," is the apex of the latter." - Jillian Mapes, Vulture

GREAT GRANDPA | "Mostly Here"

"Opening with a sigh of chords, the track heaves along with a weary lack of energy. The video for it is similarly languid, as all five members of the band come to rest in the wetlands, playing the song off of children’s instruments and staring drearily into the camera." - James Rettig, Stereogum

and of course, on Post-Trash...

FURNSSS | "#12 Looks Just Like You"

"Based around a strong fuzzed out guitar melody, the song's lo-fi production works to accentuate the sleepy vibe of the vocals (and a nice lyrical nod to LVL UP). Everything is just slightly buried as feedback stings through the mix, opening with a scraping overblown rhythmic pulse until the infectious yet dejected melody takes hold of the focus and your attention. Just as the earworm hook starts to repeat, the song fades into a warped finale, slowing the pace to a crawl as reverb washes over everything, consuming all in a thick fog."

SNAKEHOLE | "Roaches"

"There's an ever present filth on Snakehole, a crushing and unwieldy sprawl of blistering feedback, dense riffs, and immersive vocal melodies that range between depraved, sinister and all out blood curdling. The chaos subsides only for bookended piano overtures and occasional swarms of atmospheric doom, but Snakehole never leave their vexation for long."

DUSK | "Too Sweet"

"We're excited to share the exclusive music video premiere of "Too Sweet," the singles' b-side, shot and edited by Finn Bjornerud. The song features an undeniably soulful vocal performance from Julia Blair, as she croons with a scorned confidence, pushing for hasher realities as she sings "all the things you’ve done for him, now, they’re too sweet." While upbeat and full of jangly soul, the sentiment of the song is further accentuated by Dusk's gang harmonies... "did you ever find out about the whispering".