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Fuzzy Meadows: The Week In Review (November 30th - December 4th)

"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...

TWO INCH ASTRONAUT | "Good Behavior"

 "...a snappy, twisted pop song. Sam Rosenberg's knotty guitar work continues to evolve, as a Pixies-like sense of melody lurks the background, and he works nicely in tandem with new member Andy Chervenak (Grass Is Green), the bassist and co-vocalist who's boosted the musicianship of the already talented trio" - Lars Gotrich, NPR

BIG UPS "Capitalized"

"The band just posted a new song called “Capitalized,” a dark and broody post-hardcore banger that packs a whole lot of dynamic shifts into its two minutes." - Tom Breihan, Stereogum

PROTOMARTYR | "Tiny Desk Concert"

"Casey never cracks a smile and barely moves throughout this performance, hiding behind dark sunglasses and looking sharp in a gray suit, hands in pockets. It's almost bewildering at times to watch someone so composed deliver such sharp narratives, backed by squealing guitar noise. But that's part of Protomartyr's allure." - Robin Hilton, NPR

STOVE | "Aged Hype"

"That ideally mirrors the song itself, which is short (clocking in at under two minutes), simple, but those qualities aren’t detractors. Stove had a musical message to get across, so he did it without belaboring the point, simple as that. " - Derrick Rossignol, Nerdist 

PALM | "Ankles"

"Like John Cale and Robert Quine doing time in Chavez or Polvo, the quartet keep listeners perfectly off balance. We don’t need to call something punk or post-whatever for it to be good. Just rest assured that whatever weirdo tradition they may best belong in, Palm are very fucking good, which you can hear the evidence for on their lately released LP Trading Basics" - Zachary Lipez, Noisey

WOOZY | "Hush"
[Little Elephant]

"Watch Woozy play "Hush" live here at Little Elephant in Toledo, OH!"

GLASSJAW | "New White Extremity"

"Thirteen years have passed since Long Island's Glassjaw released their last full-length, the post-hardcore staple Worship and Tribute. Now, after many false starts, band member departures, and label issues, they've shared the first track from that album's long-rumored followup." - Jazz Monroe, Pitchfork

WALL | "Milk"

"...the best track they’ve released to date – all chugging riffs that make me think of 60s bands who were all about the groove like The Standells, and a shedload of great, obsessive compulsive lyrics from singer Sam York. The best bit is when she slips out of singer-mode (influences: Nico, Patti Smith, Devo, Andrew Savage) and starts cat-calling stuff..." - Matt Wilkinson, NME


"Car Seat Headrest performing live in the KEXP studio. Recorded October 29, 2015."

SPEEDY ORTIZ | "My Dead Girl"
[Vanity Fair]

"the final video from their sophomore album, Foil Deer, band mates and film school alums Mike Falcone and Darl Ferm wanted to create a crime story with an atmospheric feel ... Director and cinematographer Elle Schneider—a veritable cinematic encyclopedia ... felt that Lynch’s Twin Peaks was both dreamy and creepy, and set out to fashion lead singer/songwriter Sadie Dupuis as a new version of Kyle MacLachlan’s Agent Cooper." - Valentina Valentini, Vanity Fair

BIG PUTTS | "Prism"

"It’s an emotive, dark song with instrumentation that careens in-and-out of control over just-barely audible lyrics. This is a song for days dampened by glum, grey skies" - Gabriela Tully Claymore, Stereogum

POP. 1280 | "Pyramids on Mars"

"their most electronic album to date bringing samplers, drum machines and synthesizers further into the fold. That much is clear on the anxious opener ‘Pyramids on Mars’ which starts with ominous synths and cello slaps that bring to mind a nightmarish inversion of Arthur Russell’s World Of Echo before building to a toxic meltdown." - Miles Bowe, FACT

TELEPATHIC | "Suit to Fit"

"The first chord struck is a dam breaking, unleashing a rushing flood of fast, gainy guitar, and incensed, yet prettily calming vocal harmonies, unrelenting for its entirety. A catchy, but more emotionally driven, melody sprints through in full freedom and it’s immediately evident that the Philly trio are progressing just fine, honing a captivating balance of light, dark, punchy and caressing." - JP Basileo, Impose

WEAVES | "Drag Me Down (One Direction cover)"

"a lurching, sinuous groove that bursts into what sounds like an explosion of kazoos in the chorus." - Peter Helman, Stereogum

BIG HUSH | "Who's Smoking Your Spirit?" EP
[Washington City Paper]

"the new EP exposes the band’s knack for infectious hooks. On “Cold Shoulder,” pulsing guitar and bass ride distortion to the front of the mix, while the dual vocals seem to exist on another plane entirely. Then, more than two-and-a-half minutes into the track’s gurgle and feedback, a pop song breaks out ... long enough to deliver the album’s catchiest refrain. It’s just a moment, of course. Big Hush still dabbles in shoegaze even when the drift and reverb seems to be holding a decent pop song’s head underwater." - Ron Knox

MUSEYROOM | "Ballad"

"It’s an indie-pop number that evokes wistful melancholy through familiarly warm and swelling vocals yet emanates a sense of futuristic unfamiliarity with an abrupt transition into foreign spacious resonance.  The song builds memorable, beguiling hooks reminiscent of The Morning Benders into a slow crescendo before crashing into a tumultuously sweet end." - Meilyn Huq

POTTY MOUTH | "Creeper Weed"

"Creeper Weed sees similar VHS-style haziness. But this time, the band's scuzzy sounds come to life in L.A., courtesy of found footage featuring a crew of female skaters and their bewitching ring leader" - Emily Manning, i-D

LOU BARLOW | "Nerve"

"Barlow pokes through old home movies and ramshackle recording equipment, as he sings about a bond falling apart over time. "The video, in a general way, reflects the lyrics," Barlow says of the clip, which was directed by Adam Harding." - Craig Jenkins, Noisey

JULIA BROWN | "Snow Day"

"a shimmering track from Strawberries that blends blunted indie-pop melodies with unconventionally warped electronic drums, that border on the Baths and Dntel school of beats-and-vocals singer-songwriter structures." - Meilyn Huq, SPIN

HOLY SONS | "Gnostic Device"

"a worthy introductory peak into Decline Of The West’s darkly lit world. It’s pensive by nature and unconventional in design, with instrumentation veering from banjo to keys to crackly sound bits, all over a dreary drum machine." - Charles Innis, Stereogum

and of course, on Post-Trash...


"favoring clean vocals paired with bright production that allow for every corner of a track to be heard. “Grave Digger” finds Ellis at a relaxed moment, hitting a point somewhere between Iji-esque yacht rock and Pavement-like expansion of ideas; the most remarkable moments are those when Ellis’ vocals come in, pushed high above the instrumentation, his clearly being the literal and figurative voice to focus on." - Niccolo Dante Porcello, Post-Trash

COACHES | "That Not This"

"Coaches applies the art of bait-and-switch throughout “That Not This.” After some great dynamic shifts, around the 2:30 mark the band pulls the whole rug out from under the song. Suddenly it’s a galloping art thrash to the end, until Coaches lumbers the last few chords to a halt. The track particularly benefits from an awesome production that really accents the highs and lows." - Kelly Johnson, Post-Trash

STRINGER | "Dead Ass"

"Stringer’s sound brings together all of the previous experience garnered by each member of the four piece through previous projects that Kagan and Fletcher and J Boxer have all been a part of, ranging from Le Rug to Fiasco along with the precise drumming of John Spencer. Dead Ass is a cohesive and powerful statement of what Stringer is and where Stringer has come from, blending upbeat post-punk sounds with math-rock inspired guitars along with a signature trading off vocal style that harkens back to a classic DIY indie-punk sound." - Ben Smith, Post-Trash

ALL BOY/ALL GIRL "Not It (Live)"

"The song opens with a staccato string and drums rhythm before gradually blooming into an epic indie pop song. The refrain is a nod to the famous T.S. Elliot poem 'The Love Song of J. Alfred Prufrock" Captured at the band's recent Mercury Lounge performance, the gorgeous harmonies fits perfectly with the vibrant instrumentation."