"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...
BIG UPS | "Hope For Someone"
"In "Hope For Someone," Big Ups ask, Why live in the moment/ if the moment is broken, like they are really, really trying to think of a good solution to life's problems (or at least this particular one). In short, Big Ups are a really good punk band of smart dudes asking hard questions with all of their heart." - Leah Mandel, The Fader
PALEHOUND | "Public Radio Sessions"
"Playing out of a tiny Honeytone amplifier on a bluff above Ponce de Leon Ave. in Atlanta, GA, with headlights illuminating the street below, Kempner performs spare, moving renditions of three songs: “Holiest”, from the 2014 Kitchen EP; the title-track to Palehound’s 2015 full-length Dry Food; and the unreleased “I’m Alright With You”, which has appeared in recent live sets." - Sam Lefebvre, Impose
GOODNIGHT BROOKLYN - THE STORY OF DEATH BY AUDIO | "Trailer"
"Premiering at SXSW in March, Goodnight Brooklyn – The Story of Death By Audio captures that brief moment in time when Williamsburg was suspended between a history of gentrification and a future of corporation. Synonymous with the hipsters who had made it their home, the Brooklyn neighborhood had shaken off the ashes of 9/11 by transforming itself into a DIY utopia where the world's most exciting young musicians could get together and sculpt the sound of their generation." - David Ehrlich, Rolling Stone
MIKE & THE MELVINS | "Limited Teeth"
"last year, for equally unclear but entirely welcome reasons, Melvins core duo Buzz Osborne and Dale Crover reconvened with Rutmanis and Kunka to finish the album and deliver it to Sub-Pop records over a decade and a half behind schedule. If you’re in for this sort of thing (and since you’re still reading, I think it’s fair to assume that skillet-meets-face sludge rock is more or less your zone)" - Ron Kretsch, Dangerous Minds
MEATBODIES | "Valley Girl"
[Consequence of Sound]
"though the lineup has changed, the sound is still Meatbodies. Hooky riffs are churned out through a scuzzy mix, swirling around a steadily bopping bass line. Ubovich’s vocals and lyrics oscillate between playfully snotty and distantly romantic from one syllable to the next." - Ben Kaye, Consequence of Sound
JOHN CONGLETON & THE NIGHTY NITE | "Your Temporary Custodian"
"The song opens with vicious, winding siren synths and rumbling bass that hits like a smack in the mouth before easing into a more melodic, but still dark jaunt. The sirens quiet some, joined by big drums, and Congleton’s vocals clear a path through the infectious beat." - Collin Robinson, Stereogum
CAR SEAT HEADREST | "Vincent"
"a novel inside an epic rock song about parties. That might not usually be the stuff of deep self-examination, but this young man has an ability to fuel his words with distorted guitars, drums and more." - Bob Boilen, NPR
ROBERT POLLARD | "Of Course You Are" LP
"the latest outing for Pollard gives the fans more of what they expect—and want—from Dayton, Ohio’s favorite indie-rock son: Indecipherable song titles and bizarre lyrics that make it seem like rock ’n’ roll just pours through Pollard. Of Course You Are has a certain late ’60s vibe to it, with fuzzed-out guitars hammering out power chords on “Long Live Instant Pandemonium,” subtle organ on “The Hand That Holds You,” and acoustic six-strings and weird electronic flourishes lending a sense of psychedelia to tunes like “Contemporary Man (He Is Our Age)” and “Losing It,” which recalls an indie rock Moody Blues." - Mike Vanderbilt, AV Club
ROB CROW'S GLOOMY PLACE | "You're Doomed. Be Nice." LP
"In tune with Crow’s discography, You’re Doomed. Be Nice. features lots of intricately entwined guitar parts that stagger, stop, and go — the urgent delicacy of “Light On,” for instance. Though the guitars are heavy on melody, their rhythm is confrontationally juxtaposed with confessional lyrics that explore Crow’s frustrations and anxieties" - Sadie Bell, Stereogum
CULTURE ABUSE | "Peace on Earth"
[New Noise Magazine]
"San Francisco’s premiere garage punk weirdos, Culture Abuse, are ready to unleash their debut full length, Peach, on the world. Due out April 8th via 6131 Records, Peach is a barrage of raw punk, swaggering garage, and hooky power pop that refuses to be pinned to a single genre." - Tony Shrum, New Noise Magazine
CFM | "Purple Spine"
"The song will leave you in awe of how solid Moothart's self experiments are, seeing as how rich and beautifully textured a song he produces. "Purple Spine" creates an upward rising composition of psychedelia and spaciness. It begins with sparse, reverbed vocals and guitar from Moothart before it expands into a larger, triumphant piece. The song is huge and beautiful, giving a good sign of things to come when he drops the full-length. " - John Hill, Noisey
EAGULLS | "My Life In Rewind"
"It’s a slow, sprawling, swirling rocker, and it gives off major Echo & The Bunnymen/mid-period Cure vibes. That’s a good thing." - Tom Breihan, Stereogum
ARBOR LABOR UNION | "Radiant Mountain Road"
"It's a chugging, ballsy rock squall, with a pinch of psych and a smidge of QOTSA, that'll stomp its way straight into your heart. The bass and drums at the top may make you want to break stuff. This can be a good thing. Elsewhere singer Bo Orr's tone is simultaneously powerful and sexily insouciant." - Kim Taylor Bennett, Noisey
PARQUET COURTS | "Berlin Got Blurry"
"Parquet Courts boast the kind of slumped-over, lackadaisical delivery that might suggest they don’t stress much over anything, but lyrically, their songs are fraught with anxiety. “Berlin Got Blurry” is a jumbled series of contemplations, and its accompanying video finds Andrew Savage exploring the city of Berlin. " - Gabriela Tully Claymore, Stereogum
WIRE | "Nocturnal Koreans"
"On April 22, Wire will release a mini-album titled Nocturnal Koreans on Wire's Pinkflag label. It follows their self-titled LP released last year. That record's sessions were the basis for the new record, according to the press release. " - Jazz Monroe, Pitchfork
IGGY POP | "Sunday"
"The winding, six-minute track navigates around a slithering bass line and scorching guitar stabs as Pop croons, "This house is as slick as a senator's statement / This job is a masquerade of recreation." Later on the cut, female vocalists join Pop for the choruses before guitar solos guide Pop to the outro." - Daniel Kreps, Rolling Stone
LITTLER | "Of Wandering"
"The title track follows another transient narrative as Madeline Meyer undertones out how you can be looking right into someone’s eyes and feel a thousand miles away, and how when you actually are a thousand miles away, there’s nowhere else you’d rather be than staring into someone’s eyes." - James Rettig, Stereogum
MUSEYROOM | "Ballad"
"More generally speaking, the imagery for the video was inspired by other elements we were using to develop artwork for Pearly Whites, channelling an old, saturated illustration style within a digital context. We love the way Alex interpreted the past/future aspects of the lyrics by blending 2D and 3D imagery.” - Ben Cohen, Museyroom
FRANKIE COSMOS | "Is It Possible/Sleep Song"
"The clip, which was shot by Kline, features her friends and bandmates dancing and goofing around in front of a grainy backdrop. In a press release, she explains the pair of songs are “about questioning your surroundings and wondering about change, so I saw it fitting to have all the band members, past and present, be singing in the video, together & alone, floating in front of scenes that show movement & rest.”" - James Rettig, Stereogum
DEATH INDEX | "Death Index" LP
"a roughly hewn punk record splashed with acid-splashed synth lines, corroded power chords, and the bruised croon of Merchandise frontman Carson Cox." - Self-Titled Magazine
LOCAL H | "Fritz's Corner (Karaoke Demo)"
"The record was the band’s first foray into making a concept album and is centered around life in Zion, Illinois, the dead-end, small town from where Lucas and then drummer Joe Daniels hailed." - Michael Christopher, Vanyaland
WHITE LUNG | "Hungry"
"The song comprises exquisite layers of guitar perfectly colliding over punishing drums and plenty of crashing cymbals — a sign of the quick, furious 28 minutes the album contains. As for the video, it stars Amber Tamblyn as a vain, ornery socialite who can’t seem to look good enough for herself despite all of the batshit desperate measures she takes to improve her look." - Collin Robinson, Stereogum
JOURNALISM | "Everywhere I Look"
"a somewhat dreamy song in the verses, with clean, reverb-drenched strings, but in the chorus we're brought clattering back down to earth as a grungier, distorted sound bursts in. It's brooding in one moment and explosive in the next, and it keeps you on your toes while Kegan Zema's vocals string the disparate tones together." - Thrd Coast
A GIANT DOG | "Sex & Drugs"
"The song is dense mix of springy guitar strums, bright vaudeville-esque piano, and shimmer galore balanced by rumbling drums and bass. Director John Valley’s video is pure energy, featuring the band silver-faced in all-white everything performing the track in repetitive, jerky motions." - Collin Robinson, Stereogum
DOUG TUTTLE | "A Place For You"
"Sounding sorta like Graham Nash produced by White Fence, the half-hour of It Calls on Me has the feeling of something that you might hear at the end of a surrealist film, perhaps as a hot air balloon drifts into the distance. " - Nate Rogers, Flood Magazine
DION LUNADON | "Com/Broke"
"This new solo single was created in a “creative spasm” during a break in APTBS’ touring schedule, in which he claims he wrote and recorded about fifty songs. Stereogum compared the track to Toy Love and The Gun Club, and yeah, while it retains his band’s mope-rock worldview (“I’ve got no reason to hold on”) and thoroughly noisy mesmeric ambience, it’s a pretty straightforward and vigorous rocker with none of APTBS’ gothic trappings." - Ron Kretsch, Dangerous Minds
SUMMER CANNIBALS | "Go Home"
"The band’s latest zooms in with a series of robust guitar chugs, sharpening its already metallic edge." - Rachel Brodsky, Spin
NOTHING | "Vertigo Flowers"
"a huge, surging, melodic piece of work, and it sounds really good if you play it really loud." - Tom Breihan, Stereogum
GLITTERBUST | "The Highline"
"Glitterbust, a new collaboration between Sonic Youth's Kim Gordon and Alex Knost of Tomorrows Tulips, have announced their first album. Their self-titled debut (a double LP and cassette release) will be out March 4 via Burger." - Quinn Moreland, Pitchfork
JEFF BUCKLEY | "Everyday People"
"Throughout the visual, which was executive produced by Amy Redford, we follow a mysterious woman as she walks through New York City, an appropriate setting considering Buckley made his name playing on the streets of the East Village in the 90s, as she's meeting all sorts of "people" you might call "everyday"" - Eric Sundermann, Noisey
YUCKY DUSTER | "Seashell Song"
"Sitting at the front of the arrangement, Madeline Babuka Black and Maggie Gaster’s defiant vocals slice through upbeat drums and guitars of “Seashell Song,” adding a punk sentiment to otherwise surfy garage rock." - Michelle Laggan, Steregum
WALL OF DEATH | "Blow The Clouds"
"Drawing inspiration from Pink Floyd’s Meddle, Wall of Death’s Loveland fully embraces an “underwater sound,” especially on this track, which features wailing guitars, just enough reverb, and dizzying arpeggios scattered throughout." - Natalie Caamano, Spin
TEEN SUICIDE | "The Stomach of The Earth"
"This song is about purgatory. There's a kind of purgatory that comes with being a drug addict, when you do the same things constantly every day and have only one goal and one desire at all times, and there's a kind of purgatory that comes with getting sober and being a normal person, when life consists of nothing but small, forgettable moments and places," - Sam Ray, Teen Suicide
NIGHT IDEA | "Easy To Lie"
"It begins with an elongated intro of sparse, but knocking drums, and a rhythmic chords on the keys before winding vocals come in with a churning melody. The song moves along with infectious rhythms with a catchy hook complete with an inviting harmony hanging on the end. An electric guitar picks up the energy of the bridge, before an intricate breakdown eases into a subdued outro. I’ll probably be singing that hook for the rest of the day." - Collin Robinson, Stereogum
and of course, on Post-Trash...
OFF DRUGS | "Headline"
"A flurry of noise opens up the song before settling into the first verse containing that look on their face while someone won’t give Off Drugs the “time or place.” This leads into a raucous chorus, the half-time drums pounding the ride symbol, before going into a down right pleasant horn section" - Jonathan Bannister, Post-Trash