Heaven's Just a Cloud is the first full length by Spirit Was, led by Nick Corbo (formerly of LVL UP), which finds itself in a whole new space to explore heavier avenues while maintaining a wonderful melodic ear. A bit of a departure from his previous work, this project allows a whole new universe for the listener to envelop themselves in.
Tonstartssbandht struck a sensible balance between laidback cool and insular uncool, mystical spirit and inviting energy. Their psychedelia and prog rock-inflected sound is experimental but never enervating. It’s a testament to their ability and connection that Petunia might be their best work together yet.
Throughout It's Funny How the Colors, Log Across The Washer’s Tyler Keene whips up a universe of ramshackle folk built for porch gazing as much as drifting through your own recollections of the past. The tape is never a bummer, although there's a hushed energy (in its lyrics) of accepting the present for what it is.
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.
It’s not always easy for a band with such a plethora of ideas to integrate them so smoothly. Without the strength of their songwriting, Mandatory Enjoyment could come off as a hollow list of reference points that dissipate the moment the record ends. That is decidedly not the case here, as each touchpoint is confidently held in veneration.
Following a digital split single with Bad History Month earlier this summer, Ruah returns with Dead Friends/Feeding Demons, a new lathe cut 8” vinyl single (yeah, one more inch than a measly 7”), due out November 12th via BLIGHT. Records. The single’s a-side is a baroque rock song with Schurr’s main melody played on Marxophone.
Modern Fiction, their latest release and their first full length, is jangular. Its bread and butter are trebly clean or chorus-pedaled guitar riffs combined with infectiously crafted open chord melodies. However, the attack of these riffs is frantic, and the album’s lyrical themes belie the initial optimism of their tone.
After six records, Keith Harman is taking a rare pause from The Cowboys to introduce his solo project, Good Looking Son. Set to release Fantasy Weekend, the project’s debut EP on November 18th via Feel It Records (Qlowski, Alien Nosejob, The Cowboy), Harman has never sounded quite so radiant as he does amid these silky AM psych-pop tunes.
Set to release Playing The Bug on November 19th, the latest effort finds David Settle joined by his former EXBX bandmate, Adam Berkowitz, on drums, and the pair have shifted Big Heet’s sound once again. Scaling back a degree of the aggression, this one is still full of intensity, textured distortion, and Settle’s knack for memorable songwriting.
Back in 2019, Brooklyn’s The Rizzos brought us all on Spring Break, and now the trio take us back to How It Was, a time when little mattered more than listening to music you love. Due out November 12th via King Pizza Records (Teen Mortgage, Daddies, Milk For The Angry), the record isn’t bogged down with modern anxieties or despair.
Take two men named John, a drum kit and a guitar and you’ve got the makings of a powerful, noisy new record, Nocturnal Manoeuvres. The eponymous JOHN hail from the UK and have channeled a brooding and primal sound on their third full-length album. Like the title suggests, the vibe is dark throughout the album’s ten tracks.
The band claims many influences from the 1960s and 70s, such as Alice Coltrane and Art Ensemble of Chicago, and most listeners can detect echoes of Stereolab and Broadcast. However much Vanishing Twin honors the past, Ookii Gekkou swirls these genres into something else ever-changing, as we would hope music in the future would.
