With widescreen guitars that encapsulate everything like molasses coming down a mountain, Mums play it loud and heavy, but slow dripped and soaked in primal melodies. Guitars threaten to come apart at the seems, the fuzz blistering in all directions, recalling the joy in sustained decay and raw pop that we’ve come to associate with bands like Part Chimp, Torche, and Cherubs.
GBMystical was releasing bedroom pop, garage rock, folk rock, and indie throwbacks. Genre, it seems, is as fluid as water, for Munawet. However, by no means would one expect him to set his sights on tried and true sludgy, thrashy, groovy metal for his next project. Yet, that is exactly what The Mantis is - crunchy, pummeling and speeding.
Given that it has taken a number of years for this new album to appear, one could read I Was a Thing of Beauty as a make-or-break moment for the band. Clearly, they possess enough patience to wait for songs to come together. Like their esteemed influences, they seem content for the time being to revise their sound as it suits them.
After the release of Decay, Fatboi Sharif spoke to Post-Trash about the fine line between good and evil, plus the snack bowls and synesthetic visions that powered the album. When he says he smells blood and fire in a beat, believe him. When he says he cried tears of joy hearing a finished track for the first time, believe that too.
Nate Dionne turns musical conventions into personal diary entries, referencing characters and moments only intimately known by the narrator. The past is oppressed with naivety. A bleak economic landscape looms over the narrative, of personal worth now being dictated by futile lottery tickets and faceless hierarchy, rather than family.
Having previously released albums under Corinna Rose, Corey Gulkin, a songwriter based out of Montréal, is leaving the guise behind, opting to release their music under their given name, shedding old habits to begin with a new mindset. Half Moon, out October 6th via Anything Bagel Records is an intricate and personal record.
London indie outfit Girl Ray are back — and from the sound of it, they’re having more fun than ever before. The group recently released their highly-anticipated third full-length offering Prestige, a groovy, disco-pop concept album that serves as a love letter to ballroom culture. The sparkling twelve-track project is a joyous outing from top to bottom.
Known for the seminal hardcore band Whipping Boy and later Oxbow, Eugene S Robinson is in perpetual motion. He’s a journalist whose work has appeared in GQ, The Wire, LA Weekly, among many others. He’s also a bodybuilder, martial arts expert, LSD evangelist, and gun enthusiast. His new memoir, A Walk Across Dirty Water and Straight into Murderer’s Row, touches on all these polymathic aspects of his wildly eccentric life, from his childhood in 1970s Brooklyn through his touring days in Whipping Boy. During our interview, Robinson is nothing if not candid. He’s quick to laugh and easily spun into a yarn. Having a conversation with Robinson is akin to being swept up by a narrative tornado.
With Lost four months old and a handful of dates together with Pile kicking off early next month, Life In Vacuum are set to release “Lately,” the first in a string of Lost b-sides. “Lately” touches on the band’s most caustic side, the heavy riff and the skronky density of the rhythm balance between a pop sheen and bouncy sludge.
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.
