Following the dreamy disorientation of lead single “Fuck It Up,” the band whip things into a frenzy with “Hand That Looks Like Mine,” a song Langdon wrote about having thoughts of self-distrust, warranted or not, but Button interpreted to be about the act of performing, giving it a duel meaning to go with the band’s shared vocals.
Talk Soon, Hemlock’s latest self-released album, was recorded in Astoria, Oregon, where Chauffe was living during one year of the pandemic. This work differs from her other projects in its production, collaboration, and fullness. Throughout the seventeen tracks, Chauffe braids in windy field recordings and features a selection of voicemails.
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.
Knowing no melodic bounds, the Peacers’ exceptionally expansive musical palette is apparent, painting in a spectrum of refined subtlety, hypnotic grace, and plangent adventurism. This panoply of hues presents itself in a microtonal, blue note fashion, with chromaticism and a generalized uniqueness of twists-and-turns.
“Flying White Nimbus” is not the only song off the band’s succinct and exuberant new album, 10 Colours, that sounds like it starts in the middle—as if you just stumbled upon a passionate rehearsal. Today the Alberta-based trio have dropped a new video for the song, collaborating with animator and multidisciplinary artist Helen Young.
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.
On Picnic in the Dark, Zeiguer does not hesitate to whisk her listener away to a lush, reverberant world of her own design. By blending contemporary indie pop’s structures with vintage drum machines, old Hollywood strings, and dalliances into bossa nova territory, Zeiguer’s become the architect of her own memories.
Mother is The Milky Way is not quite a collection of songs and not quite a soundtrack. Rather, it is a twenty-minute meditative experience in an unambiguously Broadcastian space, with equal parts journey through pastoral psychedelic meadows and whiplash-inducing descent into some of the darkest spaces the band has dared to curate.
Palm Friends’ music has an easy sound to the ear, with each song stepping into another direction, while keeping it recognizable. It’s a hard thing to do across two or three separate releases, let alone within a single EP. Yet, that is exactly what the Minneapolis quartet have done on The Delivery, their latest record.
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.
Hailing from Adelaide, Twine are set to release their second single, “Same Old Problems” on April 1st, a song that’s built on tension. The band’s sound is best described as a mix of emotional post-hardcore and atmospheric arrangements, bringing to mind a place somewhere between We Were Promised Jetpacks and Dirty Three.
New Brunswick’s Motherhood are back. The Canadian outfit’s just-announced Winded follows up 2019’s Post Trash-approved Dear Bongo. Today, we’re excited to premiere the video for “Ripped Sheet,” the upcoming record’s most clear cut punk number that follows lyricist Brydon Crain’s progression toward sobriety, happiness and “dry land.”
The tape features reworkings of hit bedbug tracks spanning six years that make the most of classic four-piece rock band instrumentation. While the halcyon bedroom pop days of multi-tracked guitars and fuzzy synths may be behind the project, there is no need to mourn; bedbug’s singular approach to diaristic songwriting suits indie rock well.
