Sapsucker represents a leap forward for Gorgeous, both artistically and musically, from the duo’s debut. While both feature acrobatic drumming accompanying whimsical vocals and idiosyncratic guitar playing, there’s a sense of intentionality to Sapsucker’s bold embrace of melody. We sat down with Gorgeous to discuss the experience of making their ambitious new album, what’s changed, and what’s still inspiring them in a post-pandemic world.
Feeble Little Horse’s tight friendship is palpable through the Zoom screen. Over the past few months, they’ve opened for Sidney Gish and Snail Mail, as well as toured with They Are Gutting A Body Of Water. It’s been a dizzying year for the Pittsburgh quartet, but they rely on each other to ease any nerves.
Tonie Joy, Moss Icon guitarist and the unofficial caretaker of the band’s story, has a grounded perspective on Moss Icon and the singular music they made. No, the band wasn’t trying to sound like anything, or invent anything. Rather, it was an escape for Joy and his bandmates, a way to cope with a world that felt volatile and chaotic.
After about 45 minutes of sensory overload, Chicago’s FACS fissles down.. The three fierce yet jubilant players are grateful, but also stoic. They’re punk rockers playing psychedelic post-punk that overwhelms the brain, making bodies move in ways it usually wouldn’t and probably shouldn’t among strangers.
Over the last three years, babybaby_explores have grown their reach beyond the local noise scene and a leak of Food Near Me, Weather Tomorrow earned them a deal with Angus Andrew’s No-Gold. The trio sat down with Post-Trash to talk about their scientific methods, folk-goth aspirations, and their policy of saying yes to every dress.
Dear Nora is back. Mo Schweiger spoke with the band’s vocalist, Katy Davidson, about their latest, and self-proclaimed best album, human futures. Davidson spoke about making art during times of social and political tumult, the changing state of the music industry throughout their expansive career, and Lady Gaga.
Mint Chip, Kamikaze Palm Tree’s sophomore record, follows a backwards logic where making everything more bonkers somehow just makes it more coherent. Theirs is a proprietary recipe, not easily explained, but ahead of the release, the duo indulged questions about growing extra arms and the dog who inspires them.
Following their 2019 album, Up from Here, Detroit’s Extra Arms have returned with the aptly-titled follow-up, What Is Even Happening Right Now?, with Ryan Allen and co. pulling out all the stops on this one. Allen and Daniel Stover answered some questions about the album’s fruition from writing to recording in a time of social distancing.
Los Angeles based singer-songwriter Dominique Matelson has just released her new record The Instruction Manual. Post-Trash caught up with her to discuss her relationship with her voice, the circumstances surrounding the creation of her new album, what compels her to make art, reinventing yourself during a pandemic, and more.
We don’t always get closure, but we deserve closure. In These Arms Are Snakes’ case, it took twelve years for the Seattle institution to close the door on what is one of the weirder and wilder catalogs in punk. Post-Trash’s Jordan Michael sat down with Brian Cook to discuss the band’s end, their legacy, and getting back together to close it out.
No band to play with, no audience to play for, and the weight of so much change in so little time, Katie Alice Greer began a project that would become her first solo album, Barbarism - writing, performing, producing, and mixing an entire record herself, building something that could expose who she is creatively when no one else is looking.
In a literal sense, as a veteran touring musician with her band Moaning and as a sometimes-live-player with acts like Cherry Glazer and Girlpool, Stevenson is well-acquainted with performance and presentation. On Scrutiny, she draws on that musical experience to show its falseness as well as its potential to reveal deeper, darker truth.
In the five years since the last Weaves album, former bandleader Jasmyn Burke’s future has seemingly only opened even wider. Her solo debut solo In The Wild is out now, with production by John Congleton to augment her talents for obliquely catchy melodies and theatrical vocals. Burke spoke with Post-Trash about the process of discovering herself as a solo artist and developing the eight-page visual manifesto that guided the project.
billy woods referred to Aethiopes as “one of the more complex ideas [he’s] ever tried to tackle.” That complexity is borne out in forcefully-delivered verses that criss-cross the globe and the time-stream. After the release, woods spoke to Post-Trash to shed some light on the record’s dense imagery, and since Aethiopes is his 10th LP, we also discussed its place in the arc of his accomplished career.
