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Fuzzy Meadows: The Week In Review (February 8th - February 14th)

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"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 | "Loneliness Only Lasts Forever"

"On "Loneliness Only Lasts Forever", the emotional transformation from isolation to acceptance is played out in a three minute jaunt. Shane's vocal croons with subtle Alice In Chains twang, haunting quiet moments that crescendo into a weighty riff-driven chorus." - Michael Kolb, AdHoc

ROB CROW'S GLOOMY PLACE | "Oh, The Sadmakers"
[Consequence of Sound]

"Despite the, um, gloomy name, there’s an undeniable sense of humor poking through the song’s infectious mixture of progressive rock and straightforward pop. Fans of Pinback won’t be disappointed, but newcomers will also find plenty to sink their teeth into here." - Collin Brennan, Consequence of Sound


"At first, the gazey rock duo of Jenny Tuite and Alex Molini use weird hospital beeps and feedback to create a world where, according to the band, "being in love with a crazy person is okay because you are both crazy together." Then, they knock it all down with crushing blows of noise that hit so hard it feels a lot like love. However, the charming, psych-ward romance really falls into place once Tuite's single voice insists, "You make sense to me," through her loudening mental clamor." - Noisey


"a classic four-four power pop ballad, bringing to mind The Ramones as he starts “Suzie wants to be my friend,” before evolving into a minor-chord laden chorus that highlights his under-appreciated guitar skills." - Derek Evers, Impose

BANNED BOOKS | "Everything I'll Ever Need"

"This latest track alternates between moments of insanity and stability, fluctuating between the chaos of an energetic guitar and noisy percussion and the harmonious control of light vocals and whimsical riffs. It crashes and burns yet somehow still feels warm and gentle, like a dancing, candlelit flame." - Sadie Bell, Stereogum


"simply drifts from the first chord to the skewed, protracted outro, crafting a sense of resigned isolation from the simple structure of guitar and voice. The mood here is stifling, atmospheric meanderings that just about muster the impetus to hold it all together. There’s something precious about it too, however; those double-tracked vocals, the indelibly pretty guitar that glides and glides and glides" - Tom Johnson, GoldFlakePaint


"a lovely pop song which opens unforgettably, with the lines, "Wish I could love you less like a praying mantis / Rip your head off every time this starts to feel right."" - NPR's All Songs Considered

BLACK MOUNTAIN | "Mothers of the Sun"

"starts out narcotized and builds up to some prime universe-crushing riffage. The video, from directors Ben Jacques and Justin Gradin, is a surreal, mystical thing that captures the band in cult-leader robes, playing in insane asylums and mountain caves." - Tom Breihan, Stereogum

ZULA | "Not The Same"

"a layered, seemingly unending structure of sound that builds up and collapses in its final moments." - Gabriela Tully Claymore, Stereogum


"The uptempo bass and guitar riffs give the song a perpetual groove contrasting somewhat with Zema's raspy delivery of the lyrics. His voice brings up imagery of gravel on velvet as he belts out the barely audible chorus Playing rock and roll/ No one hears the words." - Maya Lewis, The FADER

HELLIER ULYSSES | "Prime Example" Sampler

"Hellier Ulysses build their sound out of the rubble of desperate elements as abstract musical ideas are jump-cut together, becoming hyper-active sonic pastiches that testify to the frustration facing artists searching for new modes of musical expression within well-established forms." - Michael Kolb, AdHoc


"All of the singles we’ve heard off of Broken Rope have been humbly rendered, guitar-driven bits of wisdom, and its title track is no exception." - Gabriela Tully Claymore, Stereogum

METZ | "Eraser"

"Director/editor Jim Larson shot the band performing the track at Beelectric Studios in Bushwick, Brooklyn. Using GoPro cameras on ziplines, gimbals, mic mounts, and chest mounts, Larson aimed to capture the raw energy of a live Metz performance." - Pitchfork

BEN GRIGG | "Complications" + "No Sky"

Former Geronimo! keyboardist Ben Grigg returns with new solo material with an original demo and a Guided By Voices cover.

A GIANT DOG | "Sex & Drugs"
[Music Defined]

"The tune blends the piano jams of early Elton John with a lo-fi punk attitude. It feels as free and loose as A Giant Dog’s live spectacle, which is exactly what this single needed to be." - Josh Terzino, Music Defined

DZ DEATHRAYS | "Blood On My Leather"

"Centred around needle-point riffing, it depicts the Australian duo at their most concrete, all heavy, swirling noise wrapped around that scuzzy titular image." - DIY

JEFF BUCKLEY | "I Know It's Over"
[Rolling Stone]

"the late singer's delicate, emotional rendition of the Smiths' "I Know It's Over," one of a handful of covers to appear on the posthumous album and the recipient of a new video" - Daniel Kreps, Rolling Stone

HOLY WAVE | "California Took My Bobby Away"

"Yes, Austin-by-way-of-El Paso Holy Wave is in a love-hate relationship with the state of California, and yes, their new single takes a steady, pounding, reverb+echo-drenched cruise through a wall-of-sound labyrinth" - Daniel Warren, Flaunt Magazine

LOCAL H | "Lovey Dovey (Million Yen Demo)"

"Valentine’s Day is the best day for some and the worst for others. It’s the same way with love songs. If you’re in love, you probably turn them up and sing along at the top of your lungs. If you’re not—you can’t turn that shit off fast enough." - Scott Lucas, Local H

DOUG TUTTLE | "It Calls On Me" LP

"Tuttle’s songwriting seems as influenced by Californian folk-rock in the 1970s as it does UK folk-rock in the 1970s, and the album is lushly recorded, conjuring up the imagery of fog settling over pine trees and mountains on a yellow-grey morning." - Jes Skolnik, Impose

LANTERN | "Black Highways and Green Garden Roads"

"While the songs themselves are more complex and inch away from 13th Floor Elevators towards something a bit more prog, the album retains the vintage charm of that first release with garage pop harmonies between the two vocalists, especially on stand-out tracks like "Dont Worry Baby (It Won't Be Long)" and "On My Side." Emily Robb and Zachary Fairbrother make a great songwriting pair as they switch off between their respective takes on late 60s classics." - Bryn Lovitt, Noisey

SELF DEFENSE FAMILY | "In Those Dark Satanic Mills"

"Each sweeping strum in the track gives nods to groups like Killing Joke, finely tuning the sound of their guitars to perfectly match the forlorn vocals. It's a dark, powerful track that allows complex feelings to rise from an uncomplicated, well-written track." - John Hill, Noisey

PITY SEX | "Burden You"

"...a love song about "the burden of loving someone when it's not convenient." As always, Drake and Greaves' voices counter each other between the fuzzy guitar tones." - Sydney Gore, NYLON

and of course, on Post-Trash...

FUTURE OF THE LEFT | "The Limits of Battleships"

"The pace and feel of Jack Egglestone’s drums at the start followed by the distorted syncopated bass of Julia Ruzicka work together to make you want to put on your finest duds and stroll out of the house with a “how bad ass am I?” grin on your face. Only this is exactly what they want you to think so they can then take the piss out of you. Lines like "two drinks for the limits of cool" and "have you ever known anyone who could wear a hat indoors..." are classic Falco and put the listener on notice that you might have a high opinion of yourself, but everyone else might think you a bit of a twit." - Jonathan Bannister, Post-Trash

KID MOUNTAIN | "Walk Around" + "Curtains"

"Both songs capitalize on the sounds they put forth on Happies but find them sharpening their production edges. The songs are meticulously recorded and feature fantastic reverb-soaked melodies and harmonies." - Kelly Johnson, Post-Trash