Moving with a syrupy and laconic grace, Helenor careen through pop hooks and captivating melodies to blown out fuzz and lush arrangements. There’s a lot to take in, but never at the expense of Dave DiAngelis' poetic songwriting at the core. Their latest single “Warm Ways” gets a great new video, animated by Jack Quinn.
The album is deeply connected with the work of Toni Morrison, with the first track centering around a passage from the author. This literary center is the primary force that makes this album so rich and rewarding, allowing Dixon to pull his personal experience through Morrison’s canon directly into his songwriting.
Sprain put out their debut album in September of 2020, a bleak and grinding affair that mostly consisted of angular riffs, crawling tempos, and walls of feedback. While the pandemic kept them from touring upon its release, as restrictions eased, they toured the US, all the while working on their follow-up The Lamb as Effigy, which is out September 1st via The Flenser. Alex Kent spoke to Post-Trash about the album and the process behind it.
The recent self-titled album by Atlanta band Vangas is a punishing and relentless record. From the first moments of “Chromatic Ascending” to the closing “The Handstand (Pt. 2),” there’s little room to breathe as the band tunnels through a hole of noise for 35 minutes, dragging you along amid some of the year’s most exciting noise rock.
Philadelphia-based quartet Phil Spector’s Gun is making raw and riffy rock n roll music. Fronted by Kevin Brusha, alongside Charlie Bones (Mt. Mostly), Zack Bowan (Bad History Month), and Sean Clark (Curse Reverser), they’ve been performing live for a few years now, and their studio debut Highway 61 Exploded is due out 11/3 via BLIGHT. Records.
Set to release their self-titled debut EP on September 15th via Iron Lung Records, the record provides the perfect soundtrack for a burning world, not necessarily embracing the madness but kicking against it. The quartet are watching the death and destruction of society with a balled up fist, setting a torch to polite expectations.
After a decade together, Tallahassee’s Night Witch have decided to call it quits, but not before they share a new record and embark on a farewell tour this Fall. That record, Host Body, is the band’s third full length, a blistering and brutal feminist hardcore record comprised of eight songs in just under nine chaotic minutes.
After losing their lead vocalist on the eve of a critically-acclaimed second record, Black Country, New Road emerged with a live album of new material pieced together and tested on the road; the show must go on and all that. The band have ditched much of the postmodern, hyper-referential songwriting on their earlier work in favour of fairy tales, half-remembered dreams and anthropomorphic animals.
We can’t overstate the importance of Helvetia, a constant favorite for well over a decade. The impact of its sound and style, the structure, finesse (as well as lack of finesse), has left a profound impression on what this era’s psychedelic music can be. The Beach At The Edge Of The World is a prime example of Helvetia at its absolute best.
After five increasingly fantastic albums, Melbourne’s EXEK have undoubtably staked their claim as one of this generation’s most forward thinking post-punk bands. Set to release The Map and The Territory on October 6th via Foreign Records, the band’s lush synth explorations continue to be dazzlingly muted but fully immersive.
The collaboration of Ryan Hemsworth’s (Quarter-Life Crisis) electronic music specialty and Shalom Obisie-Orlu’s emotional value produced Shalom’s incredibly solid debut album, Sublimation. The two are said to have “worked seamlessly” as the original seven tracks turned into Hemsworth’s encouraged twelve.
