Portrait of a Lady stems from Shilpa Ray’s own experience as a survivor of abuse and works outward through the larger cultural context. In wry, slow-burning ballads and synth-laden scorched-earth rockers, Ray comes on unfiltered and unequivocal. After the release, Ray spoke to Post-Trash about the struggle to be heard among her fellow musicians and the troubling political landscape her Portrait was painted on.
I Could Get Used to This sounds like nothing you’ll hear this year, as Spring Silver continues to push their sound through distinct stylistic choices and lean, undeniable songwriting. Post-Trash was lucky enough to chat with K Nkaza about community collaboration, emotions in songwriting, the year 2008 and more.
Trevor Nikrant is one-third of Nashville’s Styrofoam Winos. This past November, he released Tall Ladders, a riveting collection of psych-tinged pop and folk rock, traversing a vast spectrum of settings and psyches. Post-Trash’s Joe Guiterrez met up with Nikrant to chat about his songwriting process, David Berman, and Nashville.
Fievel is Glauque recently released an astounding record called Aérodynes EP, a wild batch of expansive and groovy tracks that showcases the band’s melodic and compositional virtuosity. Post-Trash’s Joe Gutierrez reached out to Zach Phillips and Ma Clément, chatted a bit, and explored their genesis, influences, process, and more.
In November of 2021, Defcee released Trapdoor, a collaboration with producer Messiah Musik. Backwoodz Studioz, the current bastion of forward-thinking rap music released the album, giving Defcee’s already-rising profile a considerable shove. Defcee simultaneously writes from insular and elevated perspectives, presenting a harrowing personal narrative that speaks to the grander dystopia in which we’re mired.
Writing music is a way of life for Erica Dunn. She currently fronts the band MOD CON, offers her unique writing and playing talents to Tropical Fuck Storm, and quietly strums pensive songs on a nylon string guitar for Palm Springs. Dunn spoke to Post-Trash about inspiration, music theory, and what’s next for her myriad of different projects.
Nothing’s Ever Fine is heavier and more conceptual than its predecessor, tied together with a recurring guitar motif, building its absurdity in crushing riffs and buoyant melodies. Ahead of the release, Elise Okusami spoke with Post-Trash about crafting the record’s guitar tones, coping with anxiety, and revisiting her days growing up in the DC music scene.
Holy Body Roll is a groove-filled guidebook for healing, the soundtrack to help you move from tear-streaming breakdown to full-body boogie. The first collaborative album from Michigan multi-instrumentalist/producer The Lasso and New Mexico-based vocalist/emcee A. Billi Free is a quest for self-realization and self-preservation.
Pinch Points remain steadfast in their righteous anger. For all the ways the world has changed since the release of their 2019 debut, the list of alarms to sound has only gotten longer in the wake of ongoing environmental catastrophe. The band’s Acacia Coates and Adam Smith spoke to Post-Trash about their first professional recording experience and navigating the relationships between people and social systems.
While technically an extension of 2020’s Long Haired Locusts, last year’s Saltergasp presented the band in a different light, subverting the tongue-in-cheek funk rock gestures of their debut into thrashing, high tempo motifs and noise-scrambled shreds of wailing riffs. The band spoke about their songwriting, playing live, and the future of their sound.
Poorly Drawn House are a trio from Spartanburg, South Carolina that create an intricate blend of slowcore and post-rock, with lush dynamics and creeping tension. Out now via Candlepin Records, Poorly Drawn House were kind enough to share some of the influences that lead to Home Doesn’t Have Four Walls with us.
Last year’s Do You Like Salt? takes a magnifying glass to consumerism, careerism, food systems, entertainment, and animals, blending it all up and radiating mystifying turns of phrase over frantic, angular collages of noise and melody. Throughout our conversation we discussed BRNDA’s history as a group, their relationship with D.C., and the albums they treasure most.
Tetchy have never been shy to tackle issues that are important with their music and songwriting, and after a trying couple of years, the band have an exciting and fruitful future to look forward to. In a recent interview they discuss their new video for "Backyard,” the struggles of dealing with grief and trauma, and the path forward for the band.
Through Marissa Paternoster’s long tenure crisscrossing the globe she’s built up a professional network of sorts–talented friends like Andy Gibbs, Shanna Polley, and Kate Wakefield, who feature on Peace Meter. Paternoster spoke to Post-Trash about the album’s cast of players and turning to less conventional artistic avenues.
“Pain Without a Touch” is just one product of a year-long writing session they say yielded sixty or so songs in total. Following the release, the two spoke to Post-Trash about engineering their signature sound, embarking on the first Sweeping Promises tour, and joining Twitter as social media skeptics.
Post-Trash caught up with Satomi Matsuzaki to discuss the process of recording while the world was social distancing, her favorite tracks off Actually, You Can, and how the band is weighing touring concerns ahead of a live set taping at Ed Rodriguez’s house that will air on December 12th via Bandcamp.
Post-Trash’s Dash Lewis spoke with Cities Aviv shortly before the vinyl drop of Crashing Sound about how he crafted the album, whether or not he considers his music experimental, and his endless prolificacy. They discuss his insatiable appetite for music, swinging widely from Japanese sludge rockers Boris to free jazz pioneer Milford Graves.
Beauty Pill’s discography offers a reminder that art music can challenge you without being obtuse or obscure. Before the release of Instant Night, Chad Clark and co-lead-singer Erin Nelson spoke to Post-Trash about the health crises that brought them together and the high points in artistic life they now get to savor as a group.
While they were only together for three years time, Archeology proves to be an essential find, a collection of the band’s self-titled EP with six previously unreleased songs, two live tracks, and more. Regardless if you’re familiar with The Stick Figures or not, this is a great listen of a band making taut post-punk in the era of The B-52s and Pylon.
