Chicago’s Babe Report return with their debut EP, The Future of Teeth, out April 22nd. The band, led by former FCKR JR members Ben Grigg (Geronimo!) and Emily Bernstein, recently expanded their line-up to include Peter Reale (Yeesh) and Mech, building on the thick fuzz and syrupy melodies with burly distortion and pop simplicity.
The accompanying music video follows Krystal Maynard through a bungalow with the band members individually appearing in random locations of the home. The camera glides through the house in a single shot, and as Maynard goes about her daily activities, she sings to the camera with an expressive performance.
The quartet return with their second album, the appropriately titled, II, due out once again via Feel It Records on May 13th. Stretching out with nearly eighteen minutes of music this time around, the band keep the formula the same, but expand with exaggerated immediacy, the occasional harmony, and maybe a bit more force.
Maida Vale Sessions is a collection of four live sets recorded at the Maida Vale studios at BBC, truly capturing the magic that was the Birmingham band. A mesmerizing compilation of live songs for veterans and new fans alike, this live record showcases songs all pre-Tender Buttons, showing their progress as a band between 1996 – 2003.
Battle Ave are still the mature band they have always been, still making the soothing yet exciting music they are known for. There’s a lot subtlety, but if you listen closely you’ll be amazed by what can be found on I Saw The Egg. They create a welcoming atmosphere of delicacy with the perfect album to relax, brood, or think introspectively to.
How Is It That I Should Look at The Stars thrives on its construction: played in three days in an uninterrupted jam, it gives back the naturalness of a live show, accompanied by lyrics edited in detail. We are accustomed through contemporary culture to seriality, and The Weather Station succeeds to be a point of coherence of her works.
Naomi Alligator’s gentle folk music is beautifully composed, wrought with feeling but a calming presence. There’s a maturity ingrained in Alligator’s songwriting, even when her sense of humor comes shinning through as playful. It’s in that ability to mix absurdity into her poignant music that separates her from the endless pack of singer/songwriters.
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.
Though Famously Alive’s first three songs—also its pre-release singles—hint at a straightforward listen that filters the psych elements of previous album Twisted Crystal through a poppier approach, the rest of the album is anything but, revealing a band whose restlessness provokes ceaseless transformation the moment a new opportunity arises.
Crime of Passing, a tight quintet that has been kicking around locally in Cincinnati for the past five years, are set to release their upcoming self-titled full length debut on April 22nd via Feel It Records. The band pull us deep into the murky waters, embracing coldwave and elements of industrial pop into the shadowy post-punk formula.
Springtime is considered a supergroup – and rightfully so. Each of these players is a pillar of their craft, a master at their instrument. Their Night Raver EP may only be three songs, but there’s a lot going on: two very disparate longform opuses and one seven-minute improvisation-adjacent rock song.
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.
