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Fuzzy Meadows: The Week In Review (December 7th - December 11th)

"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...

KAL MARKS | "Dorothy"

"Though Kal Marks deal with some of the heavier aspects of existence, their music isn’t nihilistic, and though Shane’s songs are often brooding, they also provide some semblance of solace for like-minded thinkers." - Gabriela Tully Claymore, Stereogum

WOOZY | "Painted White"
[Little Elephant]

"Check out "Painted White" - the 3rd and final video from our session with Woozy!!!"

TY SEGALL | "Candy Sam"

"Ty Segall has shared "Candy Sam", a new song from his upcoming album, Emotional Mugger (which was originally teased as a VHS tape). You can watch Ty and his band performing it while wearing creepy baby masks" - Jeremy Gordon, Pitchfork


SWINGS | "Tiles"
[Brooklyn Vegan]

"Swings' newest, Sugarwater, came out last month and it pulls from another side of the '90s post-hardcore/indie rock spectrum. This band makes slower, cleaner songs that you could picture coming from Sunny Day Real Estate or Seam... if those bands started using vocoders." - Andrew Sacher, Brooklyn Vegan

EUGENE QUELL | "I Will Work The Land"

"‘I Will Work The Land’, the latest Eugene Quell EP, is Tobias’ most direct sucker-punch to date. Brushing off the haze with woozy opening track ‘London Pollen’, from there on out it’s all guns blazing with fired up melody. The one-two noise-pop strike of ‘Song For Maria And Lucas’ into ‘Soft Coin’ might dig deepest, but as he reigns things back in for the wilting lovelorn ode of ‘RRW’ it proves Quell’s lasting calling-card is in the honesty and earnesty with which everything is sewn together." - Tom Connick, DIY

JAILL | "Port of Call"

"The track was written, performed, and recorded by frontman Vincent Kircher in the spare bedroom of his Milwaukee home, and it feels accordingly DIY. Surf-pop vocals and hazy guitars combine to create a psychedelic sound bathed in radiant colors that shine through distorted fuzz." - Cady Siregar, Stereogum

SAUNA YOUTH | "The Bridge"

"explosive, no-holds barred, high-energy punk. The boy-girl vocals coalesce effortlessly into one voice a la Times New Viking, and the damaged guitars are the fuse to a never-ending circuit of blazing stamina. " - Cady Siregar, Stereogum

FLORIST | "White Light Doorway"

"One verse of the barely two-minutes-long "White Light Doorway," a great tune from the group's upcoming full-length debut, The Birds Sang Outside, includes lines that seem simply ridiculous, the actions of a semi-competent mumblecore actress going for grand allegory and failing. Yet next to lyrics that touch upon a diary-like exploration of spiritual yearning, and sung over a lonely, fuzzed-out electric guitar and a kick-drum, it's not silly at all. Forget poetry or narrative, this is confession as a mix of children's therapy and religion, one that comes outlined in Crayola colors." - Piotr Orlov, NPR

DOUG TUTTLE | "Falling To Believe"
[Consequence of Sound]

"Textured by the slow, steady inhale and exhale of a synth that sounds like it could just as well be a wood instrument, the track drifts along in its own current. Soft rock drums and gentle guitar work guide the song towards crunchy ’70s solos and Tuttle’s own airy choruses" - Ben Kaye, Consequence of Sound

METZ | "Spit You Out"

"The Sub Pop signees have released the official video for "Spit You Out," a menacing track off of II that pits hynotic noise punk against the grungy godheads." - Bryn Lovitt, Noisey

POLYON | "Blue"

"This year saw more and more artists embracing elements of noise, and taking fuzzed-out textures to a new, more melody oriented zone. In that vein, D.C. outfit Polyon takes a wall-of-sound approach to post-punk, throwing heavy vocal hooks over gritty, spacious accompaniments." - Michael Kolb, AdHoc

HOLY WAVE | "Sueños"
[Under The Radar]

"The track is all summery yearning, charmingly blasé vocals, and slowly unfurling surf licks. There's a touch of melancholy lurking under all the sepia-drenched warmth, but make no mistake--this is asleep-in-the-sunlight bliss." - Michael Wojtas, Under The Radar

THE ADVENTURES OF THE SILVER SPACEMAN | "Bare Bones Part I: Oxygen is Flowing Although The Bag May Not Inflate"

"Sprung from Lou Barlow-like crinkly pop, the marauding melodies, two-or-more guitar dualing and shadowy stories move it into dark urban alley territory." - Eric Davidson, CMJ

[press release]

"The recent album Moonlust saw the Chilean duo boldly treading territory in which their earlier psych-indebted recordings only hinted at. Influence from French movie soundtracks of the ’70s and ’80s and the discography of Serge Gainsbourg are no doubt present here."

FAT WHITE FAMILY | "Whitest Boy on the Beach"
[Wall Street Journal]

"a hypnotic number that Saoudi sings in an eerie, menacing murmur as guitars buzz over a relentless head-nodding rhythm. Directed by the British artist Tim Noble, the clip also shows members of the English band having their hair forcibly shorn with electric clippers, standing shoulder-to-shoulder in camouflage on a beach near Dover, England, and glowering between halves of a vivid pink pig carcass in a darkened room." - Eric Danton, Wall Street Journal

and of course, on Post-Trash...

BILGE RAT | "Jon Puked Last Night"

"...opens with an ominous arpeggiated intro before Kusek sings "Look at the townies, they bike in the bar room, write on chalkboards and knock each other down" with a warbled delivery. You get the idea he wants nothing to do with this (and perhaps Townie Garbage isn't just a clever name), as he hammers it home on the next line, "I'll drink my cough medicine outside in the parking lot and we will twist around" with enough staggering enunciation to do the syrup proud."

LITTLER | "Not My Market"

"A jangly blast of sardonic pop music about appealing to the masses, the song offers the age ol' chestnust, "you're not my market anyway". The duel vocals of Madeline Meyer and Dan Colanduno harmonize beautifully in the song's verses, sputtering wonderfully out of control during the hooks. The power-pop charm of the song is radiant as they harness quiet-loud-quiet dynamic, and when the hook comes peeling, the desire to shout along cannot be denied."


"a grinding industrial influenced drone song that moves with monolithic intensity as Pantaleo is joined by Bueno's Mike DiBenedetto. Pantaleo's dense rhythm barrels forward with a sense of purpose over top DiBenedetto's ominous soundscapes, intensifying as the song unfolds and the rhythm expands from the locked in polyrhythmic trance. Pantaleo's drums take on a doubled effect as auditory perception begins to blur in the wake of the duo's gloomy yet undeniable groove."


"...hits all the hallmarks of those aforementioned jangle pop bands, (relatively clean guitars, no frills production, straightforward song structure) but most closely resembles the melancholy pop of The Wedding Present. Like David Gedge, the vocals hint at confusion and heartbreak. Pair that with a bouncy rhythm and terrific chorus and you have a mighty fine pop song." - Kelly Johnson, Post-Trash