Qlowski return with A Woman And Beyond, a remix EP comprised of “A Woman” reinterpreted by a diverse set of bands and artists including Girl Ray, Turnip King, Hotel Lux, and Italia 90. Out December 2nd via Feel It / Maple Death Records, each remix offers a distinctly different take on the song from minimalist to beyond maximalist.
Listening to Tell Me What You Miss The Most is like spending the day with Tasha. The Chicago songwriter’s second album, which infuses earnest indie pop with smooth R&B. Between the bookends of “Bed Song 1” and “Bed Song 2,” Tasha walks us through lakeside contemplation, self-care, and the poignancy of reflecting on a past relationship.
Chicago indie-rock band Izzy True speaks to comfort and new truths on their third album - Our Beautiful Baby World. Joined by Sam Goldstein and Curtis Oren, the band is fronted by Izzy Reidy, who has always explored versatility in her sound, but this album is defined by its experimental arrangements and poignant lyrics.
Olivia W-B (Rong) wrote Minis in a garage one day and recorded it with Nikita Manin (clarinet) and Andrew Jones (bass) in a living room the next. The trio’s unfettered fifteen minute effort contains seven tracks stemming from similar ideas and mindsets. Living up to its name, each miniature feels like a piece of songwriting occurring in real time.
After releasing a new studio album in 2021, (Sweep into Space), and a documentary (Freakscene: The Story of Dinosaur Jr), this live album represents sort of a Dinosaur Jr career overview so far, complementary to the film. You got it all here, form absolute classics like the always inspiring “Freak Scene” to tracks from the latest album.
With production from The Black Keys' Dan Auerbach, there is a certain pop-ish digestibility that walks a razor's edge, staying wholly true to the humanity of it all. One could imagine hearing this on “the radio,” despite its fantastic rebellion from the quantization-black hole vacuuming up the world of pop today - a feat in and of itself.
Weaponizing expectations is a Cherubs watermark. The Austin noise rock band has made fucking with the format a symbol of authenticity. Listening to SLO BLO 4 FRNZ & SXY, Cherubs’ most recent release for Relapse, offers the same discombobulation of being pulled from a car wreck only to discover you’re physically unscathed.
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.
Konigsberg is an artist with exquisite control over the two-minute pop structure and Lily We Need To Talk Now thoroughly breezes by at a brisk 25 minutes. That’s not to say these songs are too similar though: it’s actually sublime the way she dips in and out of styles, from punk rock to the glitchy autotune to the pure pop-punk.
The Brooklyn via New Haven based trio are set to return with the release of their next record, Heaven’s Gate, next Spring, but the time has come to get “Globbed.” The band’s latest single is here and it’s once again proof that Michael Falcone and co. have a better understanding of big, punchy, grunge-tinged alternative rock than most.
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.
